Galerie Summer 2020

Painter David Salle Looks Back & Forward Dream Destinations We Can’t Wait to Visit Gorgeous Homes in the Hamptons, Maine, and Beyond

SUMMER 2020 ISSUE NO 18

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Features 62 OPEN INVITATION A celebrated team of designers from Robert A.M. Stern Architects transforms an East Hampton classic Shingle Style into an inviting retreat that emphasizes the best of indoor-outdoor living. By Tim McKeough 72 ELEMENTS OF STYLE Artist David Salle reflects on the pieces and the processes he’s developed over his extensive career ahead of a survey of his work at the Brant Foundation in Connecticut.

By Ted Loos 76 ARTFUL DIPLOMACY Designer Gert Voorjans masterfully reconfigures a former French consulate in Antwerp into a colorful private residence for a fashionable collector couple.

By Thijs Demeulemeester 84 IN A NEW LIGHT As a fresh generation of artists and art patrons flock to the South of France, the area’s creativity flourishes with public works, cultural foundations, and enduring natural beauty. By Ian Phillips

96 PLAYING WITH THE PAST The smartly appointed Hamptons home of Bryan Graybill, which he designed with architecture firm Historical Concepts, offers open space for entertaining and quiet nooks for reprieve.

By Vicky Lowry 104 MAINE ATTRACTION A remarkable structure conceived by artist Isamu Noguchi and architect Wallace K. Harrison delivers minimalist design to a picturesque coast.

By Jennifer Ash Rudick 10

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Alexander Calder’s Small Crinkly (1976) at Château la Coste in the South of France.

ANDREW PATTMANN

88 LIFE IMITATES ART Art, design, and fashion converge in moments of unexpected visual synchronicity. By Stefanie Li

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26 Clockwise from left: Night Gallery artist Mira Dancy. Chris Wolston’s Tropical chandelier. A suite at the Hotel Lou Pinet in Saint-Tropez, conceived by Charles Zana.

Departments 14 EDITOR’S LETTER

By Jacqueline Terrebonne 21 THE ARTFUL LIFE What’s happening in the worlds of art, culture, architecture, design, and travel.

26 BACKSTORY Night Gallery’s Davida Nemeroff and artist Mira Dancy have grown their careers together, cultivating a friendship built on mutual respect and fearless innovation.

By Hilarie M. Sheets 28 THE ARTFUL HOME Designers Mara Miller and Jesse Carrier, Ray Booth, and Ellen Hamilton curate a series of interiors around an inspiring work of art.

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34 ON OUR RADAR Four artists whose eye-opening work you won’t want to miss. By Lucy Rees 38 POINT OF VIEW A look at the artists, destinations, and personal treasures that influence the transcendent spaces Pierre Yovanovitch conjures in homes and resorts around the globe.

By Jacqueline Terrebonne 40 MILESTONE Trace the major moments in Anish Kapoor’s transfixing career, from his mind-bending Tate Modern commission to a majestic installation at Houghton Hall.

By Caroline Roux

42 DESTINATION Medellín, Nepal, and Marrakech come alive through creatives’ eyes as Chris Wolston, Malcolm James Kutner, and Jennifer Guidi share insights from their astonishing adventures.

46 BESPOKE For a Sanlorenzo megayacht, designer Patricia Urquiola fashions a serene interior filled with custom furniture and ingenious features.

By Jill Sieracki 48 AUCTIONS Notable sales from around the world.

By Jeannie Rosenfeld

CLOCKWISE FROM TOP: DAVID SIERRA; MATTHIEU SALVAING; WINNIE AU. OPPOSITE, CLOCKWISE FROM LEFT: TRIA GIOVAN; ERIC PIASECKI/OTTO; COURTESY OF DAVID WEBB

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62 Clockwise from left: A home designed by Isamu Noguchi and Wallace K. Harrison on the Maine coast. An East Hampton retreat revived by Robert A.M. Stern Architects.

A David Webb turquoise and diamond ring.

50 PASSPORT Known for their staggering ability to craft remarkable home-away-from-home hotels, these imaginative designers pull from their experiences creating one-of-a-kind residential interiors.

By Rima Suqi 54 CONCIERGE Beyond the vast landscapes of Georgia O’Keeffe, Santa Fe offers a next wave of otherworldly art and artisanal craft s.

By Melissa Feldman 56 GALLERY TOUR Already the leading champions of South African artisans, Southern Guild’s founders, Trevyn and Julian McGowan, expand their

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COVER

The Hamptons retreat of designer Bryan Graybill, conceived with architecture firm Historical Concepts, offers a fresh take on Vienna Secession style mixed with nods to local landmarks. Photography by Eric Piasecki. Styled by Helen Crowther.

enterprise with the debut of a design-centric Botswana resort. By Lucy Rees 58 BOOKS A new monograph explores the next chapter in Liaigre’s distinguished history by delving deeper into spaces cultivated by the atelier’s creative director, Frauke Meyer.

By Geoff rey Montes 110 SOURCES 112 IN FOCUS Architect Annabelle Selldorf details the intimate connection she has with a mesmerizing work by Per Kirkeby.

As told to Jacqueline Terrebonne

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From top: David Salle’s Hamptons studio.

A Charles Zana– designed resort in Saint-Tropez.

An East End, Long Island, retreat conceived by Robert A.M. Stern Architects.

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Robert A.M. Stern Architects resuscitates what many would have considered a teardown into a glorious getaway by raising the ceilings and adding a plethora of porches (page 62). We’re also swept away to Maine, where an architectural gem, originally designed by artist Isamu Noguchi, perches on the craggy coast (page 104). Just one of the retreats featured in editor at large Jennifer Ash Rudick's new book, Summer to Summer (Vendome), it conveys someone’s personal ideal of how to enjoy the most carefree months of the year.

Of course, for many of us the long days of summer are usually spent hopping planes to far-flung destinations. While that might not be on the agenda just yet, we’re bringing you the inspiration that comes with those journeys (page 42). And some of the most sought-after interior designers suggest ways you can capture the magic of a hotel in your home (page 50).

Now that’s something worth checking out, especially as we increasingly embrace the beauty of art and design—whether we’re at home or dreaming of being somewhere far away.

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

CLOCKWISE FROM TOP: MEL ANIE DUNEA; COURTESY OF VENDOME PRESS; ERIC PIASECKI/OTTO; MATTHIEU SALVAING; FRANÇOIS DISCHINGER

N

ow more than ever” seems to be the phrase I’ve been inundated with during these past few months.

It’s been applied to almost all aspects of life, and although I generally eschew the overdone, I keep coming back to those words for just how accurate and poignant they are, especially for our team at Galerie. Here, we find that our passion for art, homes, and travel has never been stronger—and that’s exactly what we’ve celebrated in these pages.

With art, that translates into its power to inspire, influence, and energize. The rising stars in “On Our Radar” (page 34) are creating works that reflect the human condition in unique ways. For our “Studio Visit” with David Salle, our well-laid plans for a shoot in his Brooklyn studio had to be scrapped in late March.

Photographer François Dischinger rose to the challenge, heading out to the artist’s studio in the Hamptons to shoot him at a distance while still giving us a close look at the painter's enduring allure (page 72).

Equally enticing, the art-filled houses in this issue are just the kind of escapes that offer the warmth of home while transporting us to something outside the everyday. In East Hampton,

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Photograph taken at Vitra Design Museum, Weil am Rhein # 303 Gallery 47 Canal A A Gentil Carioca Miguel Abreu Acquavella Air de Paris Juana de Aizpuru Andréhn-Schiptjenko Antenna Space Applicat-Prazan The Approach Art : Concept Alfonso Artiaco B von Bartha Guido W. Baudach elba benítez Bergamin & Gomide Berinson Bernier/Eliades Fondation Beyeler Daniel Blau Blum & Poe Marianne Boesky Tanya Bonakdar Bortolami Isabella Bortolozzi BQ Gavin Brown Buchholz Buchmann C Cabinet Campoli Presti Canada Gisela Capitain carlier gebauer Carlos/Ishikawa Carzaniga Casas Riegner Pedro Cera Cheim & Read Chemould Prescott Road ChertLüdde Mehdi Chouakri Sadie Coles HQ Contemporary Fine Arts Continua Paula Cooper Pilar Corrias Chantal Crousel

D Thomas Dane Massimo De Carlo dépendance Di Donna E Ecart Eigen + Art F Konrad Fischer Foksal Fortes D’Aloia & Gabriel Fraenkel Peter Freeman Stephen Friedman Frith Street G Gagosian Galerie 1900-2000 Galleria dello Scudo gb agency Annet Gelink Gladstone Elvira González Goodman Gallery Marian Goodman Bärbel Grässlin Gray Alexander Gray Howard Greenberg Greene Naftali greengrassi Karsten Greve Cristina Guerra H Michael Haas Hamiltons Hauser & Wirth Hazlitt Holland-Hibbert Herald St Max Hetzler Hollybush Gardens Hopkins Edwynn Houk Xavier Hufkens I Invernizzi Taka Ishii J Bernard Jacobson Alison Jacques Martin Janda

Catriona Jeffries Annely Juda K Kadel Willborn Casey Kaplan Karma International kaufmann repetto Sean Kelly Kerlin Anton Kern Kewenig Peter Kilchmann König Galerie David Kordansky KOW Kraupa-Tuskany Zeidler Andrew Kreps Krinzinger Nicolas Krupp Kukje / Tina Kim kurimanzutto L Lahumière Landau Emanuel Layr Simon Lee Lehmann Maupin Tanya Leighton Lelong Lévy Gorvy Gisèle Linder Lisson Luhring Augustine Luxembourg & Dayan M Jörg Maass Kate MacGarry Magazzino Mai 36 Gió Marconi Matthew Marks Marlborough Mayor Fergus McCaffrey Greta Meert Anthony Meier Urs Meile Mendes Wood DM kamel mennour Metro Pictures Meyer Riegger Massimo Minini Victoria Miro Mitchell-Innes & Nash

Mnuchin Modern Art The Modern Institute Jan Mot mother’s tankstation Vera Munro N nächst St. Stephan Rosemarie Schwarzwälder Nagel Draxler Richard Nagy Edward Tyler Nahem Helly Nahmad Neu neugerriemschneider Franco Noero David Nolan Nordenhake Georg Nothelfer O Nathalie Obadia OMR P P.P.O.W Pace Maureen Paley Alice Pauli Peres Projects Perrotin Petzel Francesca Pia Plan B Gregor Podnar Eva Presenhuber ProjecteSD R Almine Rech Reena Spaulings Regen Projects Rodeo Thaddaeus Ropac Lia Rumma S Salon 94 Esther Schipper Rüdiger Schöttle Thomas Schulte Natalie Seroussi Sfeir-Semler Jack Shainman ShanghART Sies + Höke Sikkema Jenkins

September 17 – 20, 2020

Bruce Silverstein Skarstedt Skopia / P.-H. Jaccaud Société Pietro Spartà Sperone Westwater Sprovieri Sprüth Magers Nils Stærk Stampa Standard (Oslo) Starmach Christian Stein Stevenson Luisa Strina T Take Ninagawa Tega Templon Thomas Tokyo Gallery + BTAP Tornabuoni Travesía Cuatro Tschudi Tucci Russo V Georges-Philippe & Nathalie Vallois Van de Weghe Annemarie Verna Vielmetter Vitamin W Nicolai Wallner Barbara Weiss Wentrup Michael Werner White Cube Barbara Wien Jocelyn Wolff Z Thomas Zander Zeno X ZERO...

David Zwirner Feature 1 Mira Madrid Ben Brown Ellen de Bruijne Experimenter James Fuentes Christophe Gaillard Garth Greenan

Hosfelt Jhaveri Kasmin Levy David Lewis Loevenbruck Max Mayer Lorcan O’Neill Parker Project Native Informant Yancey Richardson Barbara Thumm Upstream Vedovi Venus Over Manhattan waldengallery Zlotowski Statements Bank Bodega Bureau Commonwealth and Council Company Bridget Donahue Emalin Lars Friedrich Grey Noise High Art Isla Flotante JTT LambdaLambdaLambda Magician Space Queer Thoughts Simone Subal Temnikova & Kasela Union Pacific Edition Niels Borch Jensen Cristea Roberts mfc-michèle didier Fanal Gemini G.E.L. Sabine Knust Lelong Editions Carolina Nitsch Paragon Polígrafa René Schmitt Susan Sheehan STPI Two Palms

Robert Irwin, Black³ (2008), Art Basel in Basel, 2015 [Top]; ART 05 in Basel, 1974, by Kurt Wyss [Bottom]

Participating Galleries

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

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COURTESY OF HERMÈS

Tropical Delight Hermès celebrates the wild beauty and lushness of nature with its sweeping new collection of tableware, Passifolia. Benoît-Pierre Emery, creative director of Hermès Objets et La Table, tapped artist Nathalie Rolland-Huckel, who is renowned for her skill withtkporcelain, to Lorem ipsum caption crecis auf de crescis nunc obdurat ipsum semper collaborate with him in a quest to “rediscover the richness of the botanical world, plants and crescis auf dei cres tempore brumal nunc leaves intimately intertwined.” So lifelike are the hand-painted patterns, you just might obdurat uncurate nobilis pacem. Novus decide to forgo real floral centerpieces altogether. hermes.com JACQUELINE TERREBONNE domice hir GALERIEMAGA ZINE.COM

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For the past 145 years, Swiss watch brand Audemars Piguet has produced coveted timepieces from its headquarters in Le Brassus. Now the company has embarked on an exciting new chapter with the June 25 debut of the Musée Atelier Audemars Piguet, a massive exhibition space and horology workshop.

Crafted by Danish architect Bjarke Ingels, the pavilion is embedded in a grassy bluff, its spiraling shape resembling a watch spring.

Here, visitors can witness the intricate manufacturing process and view some 300 standout timepieces from the vault, including the most complicated model the brand has ever created: the 1899 Universelle pocket watch. audemarspiguet.com —GEOFFREY MONTES

Clockwise from top: Cofounders Caroline Lindsell and Dylan O’Shea. A pillow made from the line’s Izapa brocade fabric in Jewel. A Guatemalan weaver at work using a backstrap loom. A Rum Fellow textile in progress.

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Uncommon Thread To create their intricately beautiful array of fabrics, A Rum Fellow’s cofounders, husband-and-wife Dylan O’Shea and Caroline Lindsell, draw on centuries-old techniques found in Guatemala. “It’s a nation that lives and breathes textiles,” says O’Shea. There, family-run weavers produce the London-based studio’s brightly colored brocades and fabrics, which debut in the U.S. this summer with Schumacher. Each of the designs is so detailed that individual artisans can recognize their own handiwork in their applications, such as the jaunty panels on headboards at Kit Kemp’s Firmdale Hotels. Additionally, A Rum Fellow provides fair wages and social programs for its Guatemalan collaborators. “That social mission is very much at the core of what we’re doing, but we also wanted to make sure that what we are offering is extremely beautiful and stands up in its own right,” says O’Shea. “Then behind that product is a great story and a great mission.” fschumacher.com JILL SIERACKI 22

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CLOCKWISE FROM TOP: MICHAEL WHARLEY; NATALIE DINHAM; COURTESY OF AUDEMARS PIGUET; GERSON CIFUENTES (2). OPPOSITE, CLOCKWISE FROM TOP: DOUGL AS FRIEDMAN/TRUNK ARCHIVE (2); COURTESY OF MODA OPERANDI; COURTESY OF BERGDORF GOODMAN; COURTESY OF VALMONT GROUP; COURTESY OF MATOUK; COURTESY OF DIOR; COURTESY OF CHANEL

Watch Tower

A private tasting alcove set in the winery’s Carpet of Flowers garden. Below: Ona LeSassier’s Study of Stillness triptych.

Butterfly sunglasses, Chanel; chanel.com

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Jardin patchwork raffia hat, Dior; dior.com

Bright Outlook

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Local Flavor

These chic essentials have you covered from head to toe for having fun in the sun

Architecture and nature have a wonderful way of coming together. But just like with most things in life, adding wine makes them even better. To create a new hospitality space for beloved California winery Flowers, Walker Warner Architects and interiors firm Maca Huneeus Design refashioned 15,700 square feet of existing on-site structures into tasting rooms and dining spaces that echo the vineyard’s commitment to sustainability. They even tapped wood artist Evan Shively to conceive monumental yet functional installations.

Outdoors, terroir is expressed quite literally in the dynamic grounds cultivated by the firm Nelson Byrd Woltz Landscape Architects. Rich with native plants, terraces provide guests with the perfect refuge for savoring the quiet complexities of the winery’s fruits. flowerswinery.com —J.T.

Zebra Palm beach towel, Matouk; matouk.com

Collezione Privata Jazzy Twist eau de parfum, La Maison Valmont; lamaisonvalmont.com VLogo raffia tote bag, Valentino Garavani; bergdorfgoodman.com

This Present Moment sandals, Johanna Ortiz; modaoperandi.com

DESTI N ATI O N S

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The beauty of a garden relies as much on the architectural moments as it does on its blooms. For decades, Virginia-based furniture maker McKinnon and Harris has provided sculptural punctuations that combine form with performance. The new Manwaring back detail on the Virginia bench recalls 18th-century English furniture. Engineered to beautifully weather the elements, the frame is milled from solid, high-performance aluminum and available with or without cushions.

“When we first started McKinnon and Harris in 1991, we had fallen under the spell of English garden furniture, especially the Regency style popular in England between 1790 and 1840,” explains company cofounder Anne Harris Massie. “The benches were just as much sculpture in the garden as they were a place to sit and enjoy the view.” Now that’s what’s called sitting pretty. mckinnonharris.com —J.T.

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SHOCKING PINK No group epitomized the opulence of the roaring twenties better than the Bright Young Things, the bohemian aristocrats of London. Cecil Beaton’s Cocktail Book (National Portrait Gallery) features recipes inspired by the era’s decadent drinks, coupled with dazzling portraits of Beaton’s fabulous friends, who were certainly not, in his words, “slaves of the ordinary.”artbook.com —LUCY REES

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FASHI ON

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Material Artist The distinct, unabashedly feminine paintings of Hungarian-born, New York–based artist Rita Ackermann are coveted by art insiders and the fashion world alike. Now admirers can adorn themselves in her aesthetic, thanks to Chloé’s cool, confident, and subtly rebellious fall 2020 collection. Mirroring the painter’s palette of autumnal colors, the brand’s creative director, Natacha Ramsay-Levi, crafted shirt patches, a shawl, minibags, and coat linings that seamlessly incorporate Ackermann’s artworks from decades past. A flowing shirt is draped in sketchlike portraits mixed with on-trend puff sleeves and graphic buttons to striking effect. Reflecting new femininity, the collection is a celebration of art and fashion through the eyes of inspiring—and inspired—women. chloe.com —L.R. 24

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Great Maiden’s Blush ⁄ oz Tanqueray London gin ⁄ oz elderflower cordial ⁄ oz lemon juice 2 drops rhubarb bitters Top with Laurent-Perrier rosé Add all ingredients to a wineglass, stir with ice, and top up with Champagne. Garnish with a pink grapefruit slice.

CLOCKWISE FROM TOP: COURTESY OF CLARIDGE’S; COURTESY OF ARTBOOK; COURTESY OF CHLOÉ; KIP DAWKINS, COURTESY OF MCKINNON AND HARRIS. OPPOSITE, CLOCKWISE FROM TOP: COURTESY OF PHAIDON; COURTESY OF MARINA B; COURTESY OF VERDURA; COURTESY OF VHERNIER; COURTESY OF DAVID WEBB; COURTESY OF FERNANDO JORGE; REBECCA REID

Garden Glory

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Room with a View The aesthetically powerful spaces India Mahdavi conjures have the ability to transport visitors to another time, another place, another reality. For her new collection with the illustrious wallpaper house de Gournay, the destination is 16th-century Persia. The astonishing decorative wall coverings, a riff on the house’s wildly popular and richly intricate chinoiseries, take their cues from miniature paintings from that era’s Isfahan School. Depicting elaborately dressed riders and their equally embellished steeds traversing floating island landscapes in an unexpected color scheme—the results are both soft and stunning. Rendered on pitch-dyed silk, the pattern Abbãsi in the Sky (below) takes its name from the greatest painter of that period, Reza Abbãsi, and animates de Gournay’s recently opened Beirut showroom. Only Mahdavi could take scenic wallpaper into such brave new territory. degournay.com —J.T.

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The World on a Plate Tasting the flavors of another culture is the best way to experience a place without hopping on a flight.

In chef Ana Roš’s first cookbook, Ana Roš: Sun and Rain (Phaidon), 90 recipes from her highly acclaimed restaurant, Hiša Franko, immerse epicureans in Slovenia’s remote Soča Valley. Filled with imagery of the region’s lush pastoral beauty, every page is a visual feast. Even a photograph of a dish with a name as simple as Bread and Milk (above) evokes a modern masterpiece.

And while gourmands may want to tackle a freshly foraged kale taco of wild plants, more familiar dishes like the goat cottage cheese ravioli nod to the country’s Italian neighbors. phaidon.com —J.T.

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BLUE STREAK Bold cocktail rings in dreamy shades of blue are sure to make a splash this summer

Fernando Jorge’s Galaxy ring features a medley of lapis lazuli disks and diamonds set in 18K rose gold; fernandojorge.co.uk

An 18K-gold and platinum ring by David Webb showcases a turquoise cabochon with diamonds; davidwebb.com

The Freccia ring by Vhernier flaunts a double inverted triangle of lapis lazuli and rock crystal in 18K rose gold; vhernier.com

One of Verdura’s classic designs, this Candy ring is crafted with aquamarine, emerald, and 18K gold; verdura.com

—L.R.

This Marina B Fosca ring includes a 20.6-carat sapphire with Paraiba accents, buff top sapphires, and onyx; marinab.com GALERIEMAGA ZINE.COM

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Mira Dancy (left) and Davida Nemeroff in Dancy’s studio in Gowanus, Brooklyn.

Coast to Coast

Friends and collaborators artist Mira Dancy and gallerist Davida Nemeroff have built their careers together

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hen Davida Nemeroff launched Night Gallery in a Los Angeles strip mall in 2010, it quickly became a communal hub for the city’s young artists and debuted an original concept for an art space. Since then, the gallery has launched

the careers of such exciting talents as Claire Tabouret, Samara Golden, and Mira Dancy, whose vibrant, figurative paintings are coveted by collectors and museums alike.

Here, the two friends, who have been together from the very start, share the ups and downs of their partnership.

PORTRAITS: WINNIE AU. ST YLED BY JUSTINE HWANG. ARTWORKS: COURTESY OF NIGHT GALLERY

From the Beginning Davida Nemeroff: We met in 2007 in the MFA program at Columbia University. Mira was in the painting department; I was in the photography department. We shared a love of after-school antics—that’s really what brought us together.

Mira Dancy: From our very first introduction, we were immediately drawn to each other.

Nemeroff: I curated a group exhibition called “Whitney’s Biennial” in Greenpoint, Brooklyn, with some artist friends. We got this giant space that was all painted black.

The show included our professors and classmates from Columbia, Kara Walker and Roe Ethridge, and even our hairdresser. It was just this very community-minded, collaborative event. That was really the beginning of my gallery.

Dancy: Having lived in New York, where trying to find any opportunity was tricky to navigate, I felt liberated

by Davida bringing a totally different energy to what a space is.

East Coast–West Coast Nemeroff: I moved to Los Angeles, and I was looking for how

to get involved with the art community. Mira and I were hanging out, and I was like, “I’m going to open up a space at night. What should it be called?” Mira said, “Night Gallery.”

It was straight to the point.

Dancy: The next week Davida was texting me: It’s real, it’s happening!

Nemeroff: I was 29 and had never even worked in a gallery before. Not having any experience allowed me the freedom to break the rules, like taking Mira’s painting and hanging it on a black wall. It was about bringing a feminist subjectivity to the traditional white cube. Night Gallery became its own haven for artists and, dare I say it, degenerates.

Dancy: The idea of this place being outside of normal business hours was intrinsic to it.

Clockwise from top: Mira Dancy’s Sunset over the F (2020) and Revolving Icon // Fist of Earth (2020), which were shown at Frieze L.A. Nemeroff and Dancy with a prototype for a sculpture.

“Not having any experience allowed me the freedom to break the rules” DAVIDA NEMEROFF

Nemeroff: Night Gallery has had a lot of different lives.

Even though we’ve moved to normal hours and are running a commercial space, community and collectivity are the cornerstone. And though the tribe has changed, Mira and I have been there forever.

How They See Each Other Dancy: For me, Davida is absolutely everything. Bringing people together in a way that I see her vision and how she appreciates art is so unique and unparalleled.

Nemeroff: Mira paints from a very psychic space. She taps into what is happening around her. Working with her has helped me learn how to work with artists who have a vision.

We have grown tremendously together. nightgallery.ca, miradancy.net HILARIE M. SHEETS GALERIEMAGA ZINE.COM

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Focal Point

An eye-catching masterwork can be the cornerstone of a room’s design or a punctuation mark in a curated space. Here, Galerie asked leading designers to bring together a thoughtful interior around a personal favorite

“

The texture and depth of Katy Ferrarone’s art grabbed our attention,” says Jesse Carrier.

“While we envision this living room overlooking Central Park, there’s a palpable Parisian flair to it with shimmering touches like metallic fabrics and lacquered tables”

CARRIER AND COMPANY Within Carrier and Company’s exceptional design portfolio there’s an intrinsic push and pull between glamour and livability.

Go-to resources for high-profile tastemakers, principals Mara Miller and Jesse Carrier excel at striking the right balance while adding their incomparable brand of freshness to the hallmarks of good decorating. carrierandcompany.com

Artwork: Hidden in Sight (2019) by Katy Ferrarone. Clockwise from top: Cadence table lamp by Circa Lighting; circalighting.com.

Pillow by Loloi; loloirugs.com. Picket fabric in Night Sky by Lee Jofa; kravet.com. Table No. 7 by J. M. Szymanski; jmszymanski.com.

Antonio da Silva ceramic vases from Galerie Glustin; glustin.net. Oval vessel by Cristina Salusti; valeriegoodmangallery.com.

Curved vintage sofa from Galerie Glustin. Brooke drink table by Century Furniture; centuryfurniture.com.

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ARTWORK: COURTESY OF VOLTZ CL ARKE GALLERY. PORTRAIT: SAM FROST. PRODUCTS, CLOCKWISE FROM TOP: COURTESY OF CIRCA LIGHTING; COURTESY OF LOLOI; COURTESY OF KRAVET; COURTESY OF J. M. SZYMANSKI; COURTESY OF 1STDIBS; KARIN KOHLBERG, COURTESY OF VALERIE GOODMAN GALLERY; COURTESY OF 1STDIBS; COURTESY OF CENTURY FURNITURE

PRODUCED BY JACQUELINE TERREBONNE

Jewelry as a work of art.

18 E 67th Street, New York www.marinab.com

At the architecture and design firm McAlpine, Ray Booth brings meaning to every space he crafts. He wants to help people connect to an interior by creating rooms that are open invitations to enjoy and explore. By cultivating a diversity of styles, ages, and patinas, he uses textures and materials to conjure a visual symphony that resounds with a feeling of truly being home. rayboothdesign.com, mcalpinehouse.com

“

When you look at these mirror paintings, they literally spin you on your head and change your perception of space.

Designing a private library around a Kapoor allows someone to spend time alone contemplating its mystery and beauty”

Artwork: Mirror (Purple to Pagan Gold) (2017) by Anish Kapoor. Clockwise from top: Cradle sofa by Hickory Chair; hickorychair .com. Piloti floor lamp by Arteriors; arteriorshome.com. Triad side table by Hickory Chair. Ceramic vase by John Born; bkantiques.com. Glass box from John Salibello; johnsalibelloantiques.com. Rug from Keivan Woven Arts; keivanwovenarts.com.

Plate by Michaël Verheyden; olivergustav.com. Antique desk armchair from 1stdibs; 1stdibs.com.

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ARTWORK: DAVE MORGAN, COURTESY OF ANISH KAPOOR STUDIO. PORTRAIT: COURTESY OF M C ALPINE. PRODUCTS, CLOCKWISE FROM TOP: COURTESY OF HICKORY CHAIR; COURTESY OF ARTERIORS; COURTESY OF HICKORY CHAIR; COURTESY OF BK ANTIQUES; COURTESY OF JOHN SALIBELLO; COURTESY OF KEIVAN WOVEN ARTS; COURTESY OF OLIVER GUSTAV; COURTESY OF 1STDIBS

RAY BOOTH

CRÉATIONS DES XX e ET XXI e SIÈCLES SPECIAL ORDERS RESERVED TO INTERIOR DESIGNERS, UNIQUE PIECES AND LIMITED SERIES

www.glustin.net

GLUSTIN PA R I S

Instagram: @galerieglustin 140 rue des Rosiers 93400 Saint-Ouen (Paris) – glustin@wanadoo.fr Opening Saturday, Sunday, Monday and upon appointment

Studio Glustin: furniture tribute to Mondrian, chandelier and sconces, sofa, low table / Vintage: Armchair 1950, wall sculpture 1970

ELLEN HAMILTON For Ellen Hamilton, it’s more about her process than her decorating style. With each interior, she draws out the personality of her client with a grouping of their personal treasures as well as new discoveries that she uncovers for them.

Then she assembles these distinctive finds in a space that grants them the enviable illusion of being accumulated over time. hamiltondesignassociates.com

Artwork: Untitled (2018) by Svenja Deininger. Clockwise from top center: Logique side table and Charly cabinet by Elizabeth Garouste; ralphpucci.com. Arzon ottoman by Alfonso Marina; alfonsomarina.com. Vintage sofa by Carl Malmsten; jacksons.se. Alaula (Sunset Glow) table lamp by John Koga; ralphpucci.com. Trivoli tiles by Cristina Celestino for Fornace Brioni; fornacebrioni.it. Libourne chair

by Alfonso Marina. Vintage mirror from Galerie Glustin; glustin.net. Pear cabinet by Christopher Kurtz; patrickparrish.com.

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ARTWORK: MARKUS WOERGOETTER, COURTESY OF THE ARTIST AND MARIANNE BOESKY GALLERY, NEW YORK AND ASPEN. PORTRAIT: AWOL ERIZKU. PRODUCTS, CLOCKWISE FROM TOP CENTER: COURTESY OF RALPH PUCCI; COURTESY OF ALFONSO MARINA; COURTESY OF JACKSONS; COURTESY OF RALPH PUCCI; COURTESY OF FORNACE BRIONI; COURTESY OF ALFONSO MARINA; COURTESY OF 1STDIBS; COURTESY OF PATRICK PARRISH GALLERY

“

The minimalism and graphic nature of this painting by Svenja Deininger would be perfect inside a dilapidated cottage in Sag Harbor, where a really cool collector or artist surrounds themselves with an eccentric mix”

m i da s g r a n d t i e r c h a n d e l i e r

FISHERWEISMAN.COM ASPEN

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Shape-Shifters

These emerging talents create striking works that convey poignant messages about humanity, social issues, and change BY LUCY REES

Genesis Tramaine’s 2020 works (from left): Witnessing Grace, Chasing Pearls, and Mustard Seed. The pieces were part of the artist’s exhibition “Parables of Nana” at Almine Rech.

Genesis Tramaine

Artists throughout history have channeled divine inspiration to make sense of the universe and one’s place within it. Following in that tradition is the contemporary Brooklyn painter Genesis Tramaine, whose hypnotic paintings explore biblical allegory through the vibrant lens of West African culture. “Each piece is a gospel song,” Tramaine says of the 19 works that were recently featured in her first solo show at Almine Rech Gallery in London.

With an aesthetic rooted in modernism and a strong connection to the 1980s graffiti scene in New York, her singular portraits emerge from a monochromatic backdrop of cobalt blues, ochers, or deep crimson reds. The fragmented faces are an energetic frenzy of color, line, and shape, revealing the many facets of the black experience. “There are messages embedded in the foreground, the background, and the middle ground of the work,” she says. “As a black woman, my grandmother taught me never to reveal everything—don’t show all your colors up front.”

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Titled “Parables of Nana,” the exhibition was an homage to the maternal line that runs through her family. “I was taught by my nana how to be strong in the face of adversity. She shaped my understanding of the journey of life.” A few years ago, after working as a math teacher, Tramaine rejoined the Southern Baptist church as a queer woman and found her calling. “I always knew I wanted to be an artist of sorts, even if fine art wasn’t something that I was aware of.”

Working in her Brooklyn studio, Tramaine begins her daily practice with a prayer before starting work while still in a deeply introspective space, for up to ten hours at a time. “It’s amazing to not be in the driver’s seat of the process,” she says. “I don’t decide when I begin, and I don’t decide when I am done. It’s just one of the most beautiful things. The process is as much of a mystery to me as it would be for you.”

And when each painting is complete, Tramaine’s faith shines brightly. “I think my work sings a very human song,” she says. “It’s been so interesting to see people’s connection with my art even if they don’t have a direct connection with my form of spirituality. Our job as artists is to heal.

We are healers.” alminerech.com

FROM TOP: JOHN WILSON WHITE, COURTESY OF THE ARTIST AND JESSICA SILVERMAN GALLERY, SAN FRANCISCO; BOB LINDER, COURTESY OF THE ARTIST, JESSICA SILVERMAN GALLERY, SAN FRANCISCO, AND MARLBOROUGH, NEW YORK AND LONDON. OPPOSITE, FROM TOP: MATTHEW KROENING, COURTESY OF THE ARTIST AND ALMINE RECH (3).

Davina Semo San Francisco artist Davina Semo is obsessed with bells. For the past four years, she has been exploring how the ancient device can be an expression of liberty, a call to action, or a warning sound. Now in the wake of the global pandemic, her work is taking on a newfound poignancy.

Semo was commissioned by the Public Art Fund for what will be her most ambitious exhibition to date. She created five large-scale, fluorescent orange-pink bells, each one riddled with perforations that result in a collective harmony of different pitches—not unlike the cacophony that rang through New York’s neighborhoods every evening to honor health-care workers. The symphonic sculpture will be installed this summer at Brooklyn Bridge Park’s Pier 1.

“I didn’t predict a pandemic, but my goal was always to wake people up,” says Semo from her studio, where she has

been working in isolation for the past few months. With a keen interest in politics and social affairs, Semo is motivated to spotlight pressing issues like climate change, inequality, and the fact that the COVID-19 crisis has so many people living on the edge. “They were things that seemed untenable, but during this time, the mainstream media is talking about them. It feels like there’s a possibility for change.”

A trained sculptor who shows with San Francisco’s Jessica Silverman Gallery, Semo follows a unique process that involves a labor-intensive lost-wax method. She first sculpts a wax model, which is used to create a one-of-a-kind mold, then punctures it

with a set of drilled holes, bringing light to the object’s interior and altering each bell’s appearance. “It’s a really meditative process,” she says. “Making the wax is a dance with the material.”

Experimenting with the different sounds was another important component of her work. “It’s an incredible experience when you ring a big bell and you feel it reverberate.”

With a penchant for heavy materials, Semo also creates brightly colored wall works—some are made with warped acrylic mirrors shot through with ball bearings to create a constellation effect; others utilize a curtain of painted chains.

“There tends to be an industrial tone to the things I make, and I think that is about me wanting to be part of a powerful conversation,” says the artist. “I don’t think that soft things aren’t powerful, but I think I have a bit of that teenage rage still, a desire for change.” jessicasilvermangallery.com

From left: Davina Semo.

Inside the artist’s recent exhibition, “Precarious Hardware,” at Jessica Silverman Gallery.

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Jean Claracq The characters in Jean Claracq’s paintings are caught between the real world and the virtual, the past and the present. The young French artist has been causing a stir for his works that explore the human condition in the social media era while favoring a technique that is hundreds of years old: the miniature.

Some of Claracq’s hyper-detailed tableaux, crafted with oil paint on wood, measure slightly larger than a postage stamp. Blurring the lines between painting and photography, the smooth surfaces recall both glossy photo paper and the static brightness of a screen. “I have a very slow process, not only in the physical making of the work but also in the process of elaborating it,” says Claracq, who is inspired by 14th-century Flemish and Italian Renaissance painters like Robert Campin, Herri met de Bles, and Petrus Christus. “I get my inspiration from questions I have about the world. It can take months to compose a painting, and I can collect materials for an idea for years.”

His works depict boys on the cusp of adulthood in various states of alienation, boredom, and introspection, carefully staged within lush natural landscapes or the sterile architectural cityscapes often seen in video games. “I find photos everywhere—on the Internet, in newspapers, on the street,” says Claracq. “But for the past few years, I have been using models I find on Instagram. I am interested in using not only the form of a picture but also its context.”

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Claracq’s work has been acquired by the fashion designer Agnès b. for her new art space. At Frieze London last fall, his Paris gallery, Galerie Sultana, sold out of his works—and the wait list is lengthy. This March, the Fondation Louis Vuitton gave him carte blanche for Open Space #7, its platform dedicated to emerging artists. For the occasion, he conceived “Propaganda,” five new works embedded in a large-scale architectural model.

In a period when people are spending hours online, his subject seems more resonant than ever. “During this time, I find it very difficult to be calm enough to think,” says Claracq.

“Everything is upside down, and all the content on the Internet seems to be there to keep us busy not thinking.” galeriesultana.com Clockwise from top: L’ouïe (2020), from Jean Claracq’s “Propaganda” series. Jérémie et Léo (2019).

The artist with his 2017 work View from an Apartment.

FROM TOP: MAX FARAGO; COURTESY OF THE ARTIST AND JESSICA SILVERMAN GALLERY, SAN FRANCISCO (3).

OPPOSITE, FROM TOP: COURTESY OF THE ARTIST AND FONDATION LOUIS VUITTON (2); COURTESY OF GALERIE SULTANA

Woody De Othello

“I have always been a creative person, but the second I touched clay, I just knew,” says Bay Area artist Woody De Othello. For the past few years, he’s been working with ceramics, constructing intentionally wonky, semi-anthropomorphized sculptures of everyday household objects. It’s a theme he began when studying at California College of the Arts, which counts pioneering ceramists like Peter Voulkos and Viola Frey as alumni. Since graduating, De Othello has shown equal promise, having already exhibited at the Front International: Cleveland Triennial for Contemporary Art, the 33rd Ljubljana Biennial of Graphic Arts in Slovenia, and the San José Museum of Art in California, which last year hosted his first solo museum show.

De Othello’s sculptures are full of whimsy, which belies their more serious message. “Humor is a part of my personality,” he says. “I really like what I do and that energy translates in the sculpture, but a lot of my sources of inspiration come from a deeper place.” Born in Miami to a family of Haitian descent, he uses mundane objects as metaphors for larger issues. Take the eight-foot-tall bronze fan with a concave center he made, which caused a stir at Jessica Silverman’s booth at Art Basel in Miami Beach last year. “I had been thinking about objects that circulate air and being aware of our breath, which is something we take for granted.”

Earlier this year, as a resident at the highly selective John Michael Kohler Arts Center in Sheboygan, Wisconsin, De Othello embarked on an exciting new body of work.

Experimenting with mold making, he created vases featuring Surrealist-like ears and lips that explore notions of listening and being present but also being heard. A solo exhibition will take

From left: Woody De Othello in his studio.

Installation view of his show “Breathing Room” at the San José Museum of Art.

place at the center in 2021. “We are thrilled to be supporting De Othello, whose work is expanding the voice and vision of contemporary ceramics,” says program director Faythe Levine.

With a slew of planned exhibitions now on hold, De Othello has taken the opportunity to move into a much bigger studio in Richmond, California, and is looking forward to writing, drawing, and reflecting. “I always tell people, ceramics taught me how to live life,” he says. “You have to be prepared that things will not work out as planned. There’s magic with ceramics, and I know what it does in my life, and I think that power just radiates out.” jessicasilvermangallery.com

De Othello’s installation at last year’s Art Basel in Miami Beach, Cool Composition.

Right: His 2018 work Oration.

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Perfectly Pierre

A

Clockwise from top: Pierre Yovanovitch. Ljubljana, Slovenia.

Pieces from the designer’s Love collection for R & Company.

Valentin Carron’s The Noisily Placid Fickle, Perennial Glass (2019).

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n enviable, understated elegance permeates the work of interior architect Pierre Yovanovitch. With offices in Paris and New York, his namesake firm conjures beauty around the globe—from the private homes of major art collectors to buzzy, new restaurants like Hélène Darroze at the Connaught in London. As a collector himself, he’s a staple at the vernissages of fairs and shows, which may explain the exceptional color palettes of his interiors and the incredible lines of his furniture collections. Other trademarks include his sensitivity to historical spaces and his deft hand at balancing the importance of art, architecture, and furnishings. His overriding genius, however, may just lie in the sense of whimsy that enhances his sophisticated aesthetic, infusing his designs with wit and personality. Here, he shares his passions, inspirations, and more.

My office in Paris is, in many ways, a perfect reflection of our design work as it blends the historic elements of the building with the contemporary furniture and artworks in the space. It is quintessentially French in its layout, with its interior courtyard and winding staircase in the center of the building.

I started my career as a menswear designer for the late Pierre Cardin, who continues to be an incredible influence on me. His mastery of volume and fit and his forward-thinking imagination are all traits that I strive to integrate in my work today.

Something that is uniquely me is my wool sweater from Cardin, which I have kept with me for 20 years. It’s all pilled, but it’s my masterpiece. It’s impossible to find another blue like this one!

I’ve always had a passion for classic design pieces from the Swedish Grace period. It’s a wonderful mix of purity and sophistication with some radicalness. I especially love Uno Åhrén and, of course, Axel Einar Hjorth.

I recently traveled to Ljubljana, Slovenia, to visit the architecture of Jože Plečnik. That trip reminded me how emotionally rich traveling with a purpose and topic can be. It gave me wings.

CLOCKWISE FROM TOP: VINCENT DESAILLY; MLENNY/GETT Y IMAGES; STEPHEN KENT JOHNSON; JULIEN GREMAUD, COURTESY OF DAVID KORDANSKY GALLERY, LOS ANGELES. OPPOSITE, FROM TOP: RENDERING BY JÉRÔME GALL AND; JEAN-FRANÇOIS JAUSSAUD/LUXPRODUCTIONS (2); JULIEN OPPENHEIM

The designer behind some of the world’s most artful residences and restaurants, Pierre Yovanovitch opens up about his elegant influences

My new collection of furniture and lighting, Love, was an incredible labor of, well, love. We worked with specialty craftsmen throughout Europe to create each piece. It’s based on a story line I developed centered on the love musings of an imaginary character, Miss Oops. These kinds of narrations are a key component of my design work.

We recently completed Le Coucou, a luxury ski resort in Méribel, France. We wanted to seamlessly combine all the amenities of a five-star hotel with the comfort of a beautifully designed residence for this property. We created 130 site-specific furniture and lighting pieces, and I hand-selected more than 160 artworks to be sure that each corner of the space felt special.

Up next for the firm, we are very excited to unveil my design for the collection of penthouses for the XI in New York City’s Chelsea neighborhood, which is slated to open later this year.

Art plays a central role in my work. Right now, I really love the work of Valentin Carron. I feel close to his universe—his art is always surprising and so good.

I had commissioned Claire Tabouret to create a few paintings and knew I wanted her to do something on a larger scale. Claire’s work is so emotive and powerful that I thought it would be perfect for something special in the abandoned chapel on my property in Provence. The scene she created is stunning and immersive and, in many ways, repurposes the building, true to its origins, as a place of quiet reflection. pierreyovanovitch.com INTERVIEW BY JACQUELINE TERREBONNE

“

Art plays a central role in my work” PIERRE YOVANOVITCH

Clockwise from top: Peter Zimmermann’s Saturn P (2010) hangs in Yovanovitch’s home in Fabrègues, France.

Inside his Paris headquarters. The designer’s “Gerard” Monsieur Oops Boyfriend chair and “Catherine” Madame Oops Girlfriend chair at R & Company.

The Claire Tabouret painting inside the chapel at Yovanovitch’s home in Fabrègues.

The visionary artist’s oeuvre, which includes his signature mirrored sculptures, voids, and a number of controversy-igniting installations, is being celebrated with a groundbreaking new show in England  Marsyas, 2002 Since it was initiated in 2000, Turbine Hall at Tate Modern has proved to be one of the art world’s most testing commissions.

Anish Kapoor mastered the challenge with Marsyas. “I am interested in sculpture that manipulates the viewer into a specific relation with both space and time,” he said, filling the entire room with a work that appeared to have no beginning or end.

 Dirty Corner, 2015  Wherever Kapoor goes, controversy often follows. In Versailles, he erected a huge steel funnel, which rested on the ground amid broken stones. He then described it as an antidote to the phallocracy that the palace represents, in his view.

“I wanted to upset the balance and provoke some kind of chaos,” he said.

 Cloud Gate, 2004 Kapoor’s mirror-polished stainless-steel sculpture, known as the Bean, has become the defining feature of Chicago’s Millennium Park, as well as one of his political causes célèbres. Never afraid to speak his mind or reveal his own beliefs, Kapoor protested when the NRA used it as a backdrop in a promotional video, forcing the organization to remove it from its film.

 Houghton Hall, 2020 This summer, the stately 18th-century home—one of England’s finest examples of Palladian architecture— will replace the busts of famous men in its extraordinary Stone Hall with Kapoor’s iconic Sky Mirror (2018), which turns the world upside down.

“Void objects, involuted, upside down, inside out: Those are the things that reoccur for me,” he says.

Plus, a carved marble series from 2001 to 2003 will be displayed throughout the 1,000-acre grounds.

Kapoor Black, ongoing  “The mission of the artist,” says Kapoor, “is to make something that isn’t knowable, that bears long looking, that is a dangerous thing, a deep space full of darkness.” He aims to show work with all these qualities in Venice in 2021 at the Gallerie dell’Accademia.

The artist collaborated with a technology company to create the unique nanotechnology material, which is so light-absorbing that viewers can’t tell if they’re looking at a coated object or a void. —CAROLINE ROUX 40

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CLOCKWISE FROM TOP LEFT: VIEW PICTURES/GETT Y IMAGES; RAYMOND BOYD/GETT Y IMAGES; COURTESY OF ANISH KAPOOR STUDIO (2); RAPHAEL GAILL ARDE/GETT Y IMAGES; STEPHANE DE SAKUTIN/GETT Y IMAGES

Anish Kapoor

Fantastic Voyages

These three remarkable talents found inspiration in life-changing journeys around the world

Chris Wolston, Medellín I’ve always been interested in how people deal with materials. Around eight years ago, I headed to Medellín, Colombia, on a Fulbright grant to research different modes of production, in particular pre-Columbian ceramics and brickmaking. Here, the architecture is very ad hoc. Houses were constructed with anything that was available, and there are no straight lines or level planes. It seemed to break all the rules that I was familiar with.

My terra-cotta furniture was the first series I made here. I’d been spending time at a brick factory and noticed the deep finger marks left on the thrown clay.

Making tables, planters, and chairs, I wanted to use that texture as a way of painting the surface. A humble hand-cast hot 42

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chocolate pot I discovered in a market one day led to a series of sand-cast aluminum sculptural tables and lamps. Most recently, I’ve been working on playful chairs crafted with a local wicker called mimbre, which is bartered instead of using cash.

My studio in Medellín is a big, old house with rammed-earth walls and a bamboolike grass roof. It’s in Prado Centro, a historic neighborhood filled with beautiful, aged mansions. It’s inspiring to be surrounded by different versions of the past. When people visit, I recommend they stay at the Click Clack Hotel in El Poblado, a hip area filled with great stores and restaurants. The Museum of Modern Art (MAMM) is perfect for a dose of culture, and there’s a fantastic boutique there run by the organization Artesanîas de Colombia, which sells handmade craft items.

Living in Medellín and collaborating with the local foundries, workshops, and fabricators has been an incredible learning experience. I find the culture here more fluid than in the U.S., which, I think, allows for more creativity. I’m inspired to do things that the craftsmen think are totally insane, but I want it to be done with the highest level of quality. We really push each other.

That’s been the greatest exchange.

—As told to Lucy Rees

CLOCKWISE FROM TOP: DAVID SIERRA (4); KRZYSZTOF DYDYNSKI/GETT Y IMAGES

Clockwise from top left: Chris Wolston’s Tropical chandelier. The artist with two of his Nalgona chair designs. Medellín, Colombia. Below, from left: Wolston’s Caliche floor lamp. The artist at work.

Discover Elegance at Ease DISTINCTIVE ARCHITECTURE, RESIDENCES & HOMESITES GOLF CLUB • TENNIS • BEACH CLUB • EQUESTRIAN WINDSORFLORIDA.COM • 772 388 8400 OR 800 233 7656

Malcolm James Kutner, Nepal Just a few days before leaving New York on an extensive trip through Southern Asia, a highly trusted colleague and friend suggested, “If you can find a way to go to Nepal, I highly recommend you go.” So, with unforeseen circumstances delaying my return plans, I wedged in five days between stints in Bhutan and India. I landed in Kathmandu with only a hotel reservation. No guide or guidebook, no itinerary, and an already deep sense of longing for the pristine Bhutanese landscape I had just left behind.

I wandered the streets, ultimately ending up on the doorstep of Yala Mandala, a multidimensional space situated in an immaculately restored Newari house in the middle of old Patan (also known as Lalitpur, the smaller and more elegant “City of Fine Arts” that lives alongside Kathmandu in the eponymous valley). In an instant, I knew why I had come to Nepal.

I spent the next several days exploring the area with Pravin Chitrakar, Yala Mandala’s founder and owner. Over four floors of the ancient Newari house that he renovated, Chitrakar curates rotating displays of paintings, drawings, and sculptures; carpets, clothing, and jewelry; pottery, lighting, and furnishings;

Clockwise from top left: Malcolm James Kutner outside Yala Mandala in Nepal. Yala Mandala Café’s courtyard. The bathing courtyard at Patan Durbar Square in Nepal. Kutner designed this outdoor living room in the Florida Keys.

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candles and scents—all handmade in Nepal.

Every item is commissioned or personally selected by Chitrakar, and many are made in his extensive workshops. In the courtyard and gardens, a lively mix of creative and curious folks from near and far swap stories while sampling honest and inventive dishes from Yala Mandala Café’s open kitchen.

As the sunlight was replaced by candlelight, music started to play and I was reminded of why I recognized home in this faraway place. Here was the expression of one man’s resources and experience, inspired and sustained by his passion for art, architecture, design, food, and travel. The pursuit is one of promoting the locally crafted, the artisanal, and the handmade and protecting these vital bridges that connect heritage and sustainability, object and experience.

This personal and skillful approach to promote and protect a future of lives beautifully made and lived is something I think about consistently in my own work and continue to strive for in innovative and important ways. This is part of why I travel—to learn, to remember, to return— and when those moments coincide, magic happens. Sometimes I have to go far away to find myself at home in the world.

—Malcolm James Kutner

FROM TOP: PRAVIN CHITRAKAR; MALCOLM JAMES KUTNER (3). OPPOSITE, FROM TOP: COURTESY OF THE LEADING HOTELS OF THE WORLD; BRICA WILCOX, COURTESY OF GAGOSIAN (2); JENNIFER GUIDI

Jennifer Guidi in her Los Angeles studio. From top: La Mamounia in Marrakech. Guidi’s As I Look into You I Begin to See Myself (2019).

Textiles and carpets in the souks.

Jennifer Guidi, Marrakech It was a passion for handwoven Berber rugs that drew me to Morocco. I had come across them in Los Angeles and found their bright colors, patterns, and painterly hand-stitching so inspiring that in 2012 my brother suggested we go straight to the source. I remember thinking when we arrived in Marrakech that it was so beautiful and there was so much going on all at the same time. I was engrossed by the traditional architecture—simple geometric buildings with little cutout circles and triangles where birds flew in and out.

We stayed at La Mamounia, a former palace turned hotel located in the heart of the old city. Its courtyards are the loveliest place to have a cocktail or mint tea, even if you’re not staying there. Marrakech really comes alive when the sun goes down because it’s not as hot. One evening, we took a car to the restaurant Dar Yacout, whizzing through bustling streets lined with little shops. Outside, the dinner spot looks

fairly indistinct but once inside, you’re welcomed into a beautiful courtyard filled with tiles and old lanterns. It’s quite magical.

In search of carpets, we went to a few different stores in the souks: Le Cadeau Berbere, La Porte D’or, and Le Petit Palais.

It was three full days of looking and negotiating. Like in Aladdin’s cave, the rugs were all folded up and arranged in hundreds of piles. The storekeepers dubbed the style I was after “Crazy Picasso.” I had a stack of them shipped back to L.A., where they now cover almost every inch of my home.

When I returned to California, I started taking photographs of them and making dot paintings from those images. The sublime desert atmosphere, the dreamy colors and textures stuck with me long after. The trip signaled an important shift in my practice in which I started working in an abstract way for the first time. It was a huge turning point.

—As told to Lucy Rees

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From top: For the upper deck of this Sanlorenzo megayacht, designer Patricia Urquiola created a serene sitting area using Janus et Cie Anatra sofas, a Caule lamp from Flos, and Kettal Mesh deck beds; the wood stool and cocktail table are custom.

A Sanlorenzo SD96 yacht made in Viareggio, Italy.

Designer Patricia Urquiola.

Smooth Sailing

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’ve always been close to the sea,” says designer Patricia Urquiola of the transportive interior she conceived blending custom furnishings made from ribbed glass, oak veneer, and Silk Georgette stone. Yet this space isn’t tucked inside one of the Milan-based architect’s masterful structures, like the Lake Como resort Villa Pliniana or Il Sereno. Instead, this five-bedroom, five-and-a-half bath residence literally floats on the water, ensconced within a bespoke Sanlorenzo SD96 superyacht.

Born in the coastal city of Oviedo, Spain, Urquiola wanted her first yacht design to accentuate indoor-outdoor living. As such, the rounded-edge herringbone flooring she crafted for Listone Giordano is rendered in oak inside, then continued in teak on the exterior decks. Furniture was constructed to provide open sight lines out the expansive picture windows, offering crystal-clear views of placid waterways and dreamy port cities like Monaco, the French Riviera, and Sardinia’s Emerald Coast. Adding to the air of endless space, free-flowing rooms were specifically built with tucked-away amenities that readily convert a salon into a dining room or a cozy cinema, a lounge into a guest cabin with private bath. “I was immediately struck by the client’s desire to look for a new way to design a boat with the same attention and customization with which a house is designed,” says Urquiola.

FROM TOP: ALBERTO STRADA (2); MARCO CRAIG. OPPOSITE: ALBERTO STRADA

For the interior of her first yacht, Patricia Urquiola combines her unique aesthetic with the soothing palette of the sea

PHOTO CREDIT TK

Sanlorenzo, which will unveil a new, 146-foot aluminum superyacht at the Cannes Yachting Festival in September, produces only 50 boats per year and each is made to order. As part of this vessel’s year-and-a-half construction, the architect incorporated artful installations, such as a feature wall in the master cabin that’s a reimagining of her Liquefy tables for Glas Italia. A central staircase, made in bronzed steel and oak, then enclosed in a travertine shell, provides a unique interpretation of maritime aesthetics. “It’s like a periscope,” Urquiola says. “It doesn’t break from deck to deck.”

Finishing touches were brought in through a thoughtfully curated mix of new custom furniture and pieces previously designed by Urquiola. On the main deck is the architect’s Burin table for Viccarbe and Back-Wing armchair and Beam sofa from Cassina, complemented by the brand’s Table à Plateau

“

I was immediately struck by the client’s desire to design a boat with the same customization with which a house is designed” PATRICIA URQUIOLA

Interchangeable, originally created by Charlotte Perriand. Other decorative standouts include Urquiola’s Shimmer mirror for Glas Italia in the cabin baths and an ottoman from her Nuances collection for Gan in a bedroom suite.

“The challenge was to re-create a floating house while keeping in mind some design constraints specific to yachting,” she says of her interior, which had to work around unfamiliar limitations, like a restricted floor plan and lower ceiling heights. Proving her success, the vessel received a Best Layout trophy at 2019’s Cannes Yachting Festival. “For the SD96 the complexity made this project more stimulating for me and drove our team to find creative and original solutions. It was my first endeavor in designing a yacht, and it became a remarkably interesting new genre for me.” patriciaurquiola.com, sanlorenzoyacht.com —jill sieracki From top: Urquiola’s Beam sofa for Cassina is paired with the atelier’s Table à Plateau Interchangeable, originally created by Charlotte Perriand. In a bedroom suite, the designer was inspired by her Glas Italia Liquefy tables for a custom wall installation.

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Fascinating sales from around the world

BY JEANNIE ROSENFELD

PATEK PHILIPPE, YELLOW-GOLD WORLD TIME WRISTWATCH (2009)

BUCCELLATI, SILVER AND BAMBOO FLATWARE SERVICE (LATE 20TH CENTURY) Sold at Sotheby’s New York (January 23 and 24) The 22-hour auction of furniture, decorative objects, and art from the Upper East Side townhouse and Connecticut home of the late decorator Mario Buatta, known as the “Prince of Chintz,” confirmed the enduring legacy of his exuberant style. Only five of the 922 lots failed to sell as buyers snapped up everything from whimsical vegetable-form porcelain to dog paintings. Frenzied bidding drove prices well past expectations, as was the case for this exceptional 174-piece Italian service, which fetched $93,750 against a $5,000 to $7,000 estimate.

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BUGATTI TYPE 55 SUPER SPORT ROADSTER (1932) Sold by Bonhams in Amelia Island, Florida (March 5) A collaboration between Ettore Bugatti and his son Jean, these Super Sport Bugattis were produced in a limited edition of 38. Only 14 left the factory with the younger Bugatti’s roadster coachwork and just 11 retain the original bodywork, most of which are in institutional collections. This rare offering bears a noble provenance, ordered by Nathaniel Mayer Victor Rothschild. The top lot in a series of annual car auctions, it fetched $7.1 million.

Sold at Antiquorum in Geneva (March 21) Introduced at the 2008 edition of Baselworld, the international watch and jewelry show, this timepiece features a handmade cloisonné enamel dial displaying the European, African, and American continents and 24 time zones. Given the difficulty of making these artisanal Ref. 5131 devices, the company produced only a small number of them. This unique, made-to-order watch, the only known example with an 18K-yellow-gold bracelet, hit the block for CHF 150,000 ($152,000).

COUNTERCLOCKWISE FROM TOP: COURTESY OF SOTHEBY’S (2); COURTESY OF BONHAMS; COURTESY OF ANTIQUORUM

On the Block

GEORGIA O’KEEFFE, NATURE FORMS—GASPÉ (1932) Sold at Sotheby’s New York (March 5) This mesmerizing landscape was inspired by trips the artist took to Quebec’s Gaspé Peninsula to escape her complicated marriage to photographer Alfred Stieglitz. Commanding $6.9 million, it was the top lot in an auction of more than 100 artworks and personal effects consigned by Juan Hamilton, who was 27 when he met O’Keeffe, then 85, and became her assistant. Other highlights of the materials he retained included O’Keeffe’s 1979–80 Abstraction, which brought more than double its $200,000 to $300,000 estimate, and six rare pieces of her pottery, led by Untitled (Clay Pot) (circa 1980), which fetched $60,000 against an $8,000 to $12,000 estimate.

fu r n i t u re

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New York | Los Angeles | ddcnyc.com

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Suite Inspiration

These revered designers create transportive hotels so alluring, guests are literally bringing their visions home

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any stylish notables like Coco Chanel, Oscar Wilde, and Tory Burch have made hotels their residences.

While living in a hotel is not as popular as it once was, it is now de rigueur that opulent resorts feel less formulaic and more like a high-end home. Their guests, in turn, find inspiration in these masterfully designed interiors, so much so that it’s not uncommon that a souvenir from their stay might be a piece of furniture from their suite.

Rising to the occasion are many of the world’s leading interior designers. Here, five firms that have mastered the art of luxurious hospitality and residential design share their secrets.

Charles Zana The Tunisian-born, Paris-based architect and interior designer has a host of hospitality, residential, commercial, and exhibition projects in his portfolio, including a Kimpton Hotel set to open later this year in a listed heritage site on the Boulevard des Capucines. Last year brought a prestigious honor: Charles Zana was named a Chevalier dans l’Ordre des Arts et des Lettres.

At the Hotel Lou Pinet, a 34-room property that had been in the same family for generations, Zana aimed to redefine Provençal style by mixing terra-cotta-tiled floors and period pieces with his own designs. He collected mismatched textiles for throw pillows from London designer Jennifer Shorto, then paired the soft goods with striking art that nodded to a similar palette. “For me, it is the most luxurious thing when you put items together that don’t match,” he says, “and in the end, it is okay.”

Today’s hospitality suites, Zana admits, have evolved to accommodate modern life, but in the end he aims for “calm hotel rooms that are not too technical, where one can instantly feel at ease.” The property that ticks all his personal boxes is the legendary La Colombe d’Or in Provence. Historically a magnet for the creative class, including Joan Miró, Henri Matisse, and Alexander Calder, it is where, he says, “I feel at peace.” zana.frw 50

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Charles Zana reimagined the Hotel Lou Pinet in Saint-Tropez, including (from top) a dining terrace overlooking the pool, its 34 rooms and suites, and the restaurant, Beefbar.

FROM TOP: COURTESY OF AFSO (2); COURTESY OF JANUS ET CIE. OPPOSITE, CLOCKWISE FROM TOP: MATTHIEU SALVAING (3); NOEL MANALILI

André Fu When the Hong Kong native’s first hotel project, the Upper House, came to him, he had no previous hospitality experience, but he overcame the many design obstacles to create what has become an iconic property in his hometown. This fall brings the opening of Hotel the Mitsui Kyoto in Japan, which features a wooden pavilion in the lobby that’s reminiscent of the city’s bamboo thickets and luxuriously Zen rooms with design elements like sliding shoji-style paneled doors—a nod to traditional Japanese tearooms. But one of André Fu’s favorite elements might come as a surprise: “I personally think it’s wonderful to have a minibar in a master bedroom, in case you want to have a drink or make a cup of tea before heading off to bed,” he reveals. At Mitsui, Fu created a cabinet with a pullout refrigerated drawer and another with snacks, glassware, and Japanese ceramic mugs. He brought a similarly deft touch to a pair of suites at London’s Berkeley hotel.

Fu says he’s most proud of his work on the St. Regis Hong Kong, which was inspired by the look of that city in the ’60s and ’70s and designed to be a “curated mansion.” The hotel is adorned with pieces from his Rock Garden collection of outdoor furniture for Janus et Cie on the Astor Terrace, accessed through a monolithic moon gate and planted with both bamboo and topiaries, which Fu used to subtly “embrace the spirit of the city.” afso.net Clockwise from top: André Fu inside his model apartment at 53 West 53 in Manhattan. The designer’s Rock Garden lounge chair for Janus et Cie. The Crescent Pavilion at the Berkeley in London.

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Gray Davis and Will Meyer, Meyer Davis After being demolished by Hurricane Irma, Rosewood Little Dix Bay underwent a four-year-long renovation and reopened earlier this year. The task of reimagining this beloved Virgin Gorda resort, founded by conservationist Laurance Rockefeller in 1964, fell to Gray Davis and Will Meyer, whose firm has become the go-to for hospitality clients worldwide, including Four Seasons Hotels and Resorts (Houston, Athens), the Ritz-Carlton (Washington, D.C.), and 1 Hotels (South Beach).

Over time, Davis notes, the firm’s approach to residential and hospitality interiors has become more similar, with the duo encouraging clients to “expand their expectations of what hotel design is, and using each project as an opportunity to introduce a level of detail that is typically saved for residential work.”

At Little Dix Bay, pendants playfully strung over cantilevered bedside tables allow for more room for guests to display their personal effects. The duo used free-floating cabinetry throughout the property, including in the Tree House Suite’s bath, where a whitewashed oak vanity hovers above a separate cabinet. “Architecturally, making a big monolithic gesture in the room instead of fussy hardware creates more air, more space, and gives you a more functional countertop,” explains Meyer. The resort also boasts an early version of the Hugo barstool that is part of Meyer Davis’s collection for Stellar Works, debuting this summer. meyerdavis.com 52

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Clockwise from top left: A private terrace at the Four Seasons Astir Palace Hotel Athens. The calming interior of a pool suite and airy Pavilion café at the Rosewood Little Dix Bay. Gray Davis (left) and Will Meyer.

CLOCKWISE FROM TOP: COURTESY OF DAVID COLLINS STUDIO; KENSINGTON LEVERNE; GERALD FORSTER; COURTESY OF SUKOSOL HOTELS. OPPOSITE, CLOCKWISE FROM TOP: KEN HAYDEN, COURTESY OF ROSEWOOD LITTLE DIX BAY (2); MILES AND MILES; COURTESY OF MEYER DAVIS; GAVRIILUX PHOTOGRAPHY, COURTESY OF FOUR SEASONS

Simon Rawlings, David Collins Studio The late great Irish architect David Collins, who established his namesake studio in 1985, was highly instrumental in creating the look and feel of London’s most celebrated restaurants and bars such as the Wolseley and the Blue Bar at the Berkeley. Collins died seven years ago, but the studio’s work continues. Under the creative direction of Simon Rawlings (who joined the firm over 20 years ago), it continues to add to its large roster of impressive clients, including such recent projects as the Connaught Bar in London, Thomas Keller’s TAK Room in New York’s Hudson Yards, the Mandarin Oriental Doha in Qatar, new lodges at the Delaire Graff Estate in South Africa, the Siam in Bangkok, and a cruise ship for Cunard, set to sail in 2022.

Rawlings’s approach to window treatments that both enhance the vistas beyond and overcome some spatial challenges is a technique worth replicating. The Owner’s Villa at the Delaire Graff Estate, for example, allows guests to enjoy an outdoor dining room with a system of shutters that serve to simultaneously mitigate the often-gusty winds and preserve the stunning views of Stellenbosch Mountain. At the Apartment, a luxurious two-bedroom suite at London’s Connaught hotel, Rawlings overcame the limitations of relatively small windows by surrounding the portals with mirrored panels to create an expansive optical illusion and designing very clever ombré-effect curtains to draw the eye upward, making the space seem loftier. davidcollins.studio

Clockwise from top: The interior of the David Collins Studio-designed Owner’s Villa at the Delaire Graff Estate. Simon Rawlings. The Pool Villa Riverview at the Siam.

Alexandra Champalimaud

From left: The library at Troutbeck in Amenia, New York. Alexandra Champalimaud.

The 50-person, New York City–based design studio Alexandra Champalimaud has helmed for over three decades had a big year in 2019, as it saw the debut of several major projects, including the iconic Raffles Singapore, the Halekulani Okinawa in Japan, the Halepuna Waikiki by Halekulani in Honolulu, and the Centrale, a condominium building in midtown Manhattan. Champalimaud believes that a hotel should be an “inspiring and successful place where people want to stay and, in some cases, live.” She adds, “When that feeling and sensibility have been accomplished, we find that people want to bring that energy into their homes.”

One of the projects she’s most pleased with is Troutbeck, a 255-year-old hotel property on 250 acres in the Hudson Valley that in its heyday drew Mark Twain, Ralph Waldo Emerson, and Henry David Thoreau. Given the estate’s rich history, “the furniture throughout was designed and chosen to feel as if it had been collected over generations by a well-traveled family,” she says. “We assembled an eclectic mix of antique and contemporary pieces, all from a range of places and design eras, with the idea that everything melds into one another.” She also painted guest rooms in a variety of rich but soothing colors, explaining that palette is the “easiest and most effective way to evoke a feeling in a room,” and dressed every bed with crisp white sheets that are, of course, ironed to “make a bed inviting.” champalimaud.designRIMA SUQI GALERIEMAGA ZINE.COM

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Utterly Enchanting

Santa Fe Plaza connects the New Mexico Museum of Art and the IAIA Museum of Contemporary Native Arts.

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From top: Design for Matchboxes of the Restaurant La Fonda del Sol (circa 1960s) by Alexander Girard, whose work is on view at the Museum of International Folk Art. SITE Santa Fe’s SHoP Architects– designed building.

Shiprock Santa Fe. A recent group show at Charlotte Jackson Fine Art.

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hink art in New Mexico and the mind either goes to the ancestral—most notably, designs by the Native American tribes that populate the desert landscape—or the abstract, like the moody, billowy paintings of the state’s most famous adopted daughter, Georgia O’Keeffe. But a number of blue-chip artists like Bruce Nauman, Doug Wheeler, Larry Bell, and Judy Chicago have eagerly embraced New Mexico as a second home.

In recent years, the state’s fusion of contemporary, native, and historical art and design has transformed it into a respected cultural mecca with over 250 galleries and institutions as well as unique events, such as the annual International Folk Art Market. “The confluence of art, craft, and design is what Santa Fe is all about,” says Jordan Eddy, director of the upstart gallery Form & Concept.

Along Santa Fe’s Canyon Road, one can find western landscapes at Zaplin | Lampert Gallery and bold geometrics at Hecho a Mano. The Railyard Arts District is where you’ll discover Gallery Fritz, Yares Art Galleries, TAI Modern, and Charlotte Jackson Fine Art, which is mounting its annual group show dedicated to a single hue, “Black Is the Queen of Color.” Nearby is the striking Shop Architects–designed building that houses the nonprofit contemporary arts organization SITE Santa Fe, now hosting “Displaced: Contemporary Artists Confront the Global Refugee Crisis,” a multimedia exhibit that includes Ai Weiwei’s documentary Human Flow.

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With so much to explore, Elaine Richtel of Santa Fe Art Tours recommends beginning at the New Mexico Museum of Art, where the exhibition of contemporary multimedia work “Breath Taking” is currently on view. (A museum expansion to be named the Vladem Contemporary is in the works for 2021.) The Museum of International Folk Art is offering “Alexander Girard: A Designer’s Universe,” while Native American, First Nations, and indigenous crafts are showcased at the IAIA Museum of Contemporary Native Arts (MoCNA).

Gallerist Jed Foutz understands the power of local craft. Alongside his wife, Samantha, he operates Shiprock Santa Fe, a combination exhibition space and mercantile with an impeccably curated collection of Navajo rugs, blankets, and Native American jewelry. “Southwest and Native American culture has always represented an ideal of mystery, spirituality, and nature,” says Foutz.

“A glimpse into the unknown.”

One of Santa Fe’s oldest art spaces, the Gerald Peters Gallery has on view a group show of hundreds of nature-inspired works entitled “Contemporary Naturalism.” Artists featured in the exhibit capture the sublime New Mexico flora and fauna in their work, not unlike O’Keeffe, whose area homes and studio are preserved. “O’Keeffe was an example of using the myth of New Mexico,” says Eddy. “She made it epic.” MELISSA FELDMAN

FROM TOP: COURTESY OF TOURISM SANTA FE; COURTESY OF VITRA DESIGN MUSEUM; NICK MERRICK, HALL + MERRICK PHOTOGRAPHY; WENDY M C EAHERN, COURTESY OF SHIPROCK SANTA FE; COURTESY OF CHARLOTTE JACKSON FINE ART

Santa Fe’s flourishing arts scene spans eras and genres, from traditional Native American crafts to modern works by major talents

Light in balance 373 S-Une idée sur le toit

1931: Jean Perzel created a balancing game and adjusted to the utmost perfection 2 levels of glass, softly maintained by brass blades.

And so the legend began…

3, rue de la Cité Universitaire, 75014 Paris, tél. 33 (0)1 45 88 77 24

www.perzel.fr

Southern Exposure

With their Cape Town gallery and a new Botswana resort, Southern Guild gallerists Trevyn and Julian McGowan are introducing a fresh generation of African design to the world Clockwise from top left: An aerial view of Cape Town, South Africa.

Southern Guild’s Trevyn McGowan.

Umthwalo VII by Zizipho Poswa.

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revyn McGowan and her husband, Julian, never set out to become Africa’s leading authority on collectible design, but that’s exactly what happened. In 2008, the couple founded what would eventually become Cape Town gallery Southern Guild, and it quickly gained acclaim as the place to discover some of the most innovative and boundary-pushing works by South African talents today.

The impetus for the undertaking was born during the latter part of the couple’s 22 years in London, where Trevyn worked as an interior designer and Julian masterminded sets for West End productions. They would often source artisanal pieces from African makers for their projects. Their shared mission to expose the world to the continent’s designers was cemented

“ We are looking for a distinctive voice and a strong personal narrative ” FROM TOP: KARL ROGERS, COURTESY OF SOUTHERN GUILD; CHRISTOPHER LOH/GETT Y IMAGES; HAYDEN PHIPPS, COURTESY OF SOUTHERN GUILD COUNTERCLOCKWISE FROM TOP: HAYDEN PHIPPS, COURTESY OF SOUTHERN GUILD (3); ADEL FERREIRA, COURTESY OF SOUTHERN GUILD

TREVYN MCGOWAN

when the couple launched their export company, Source, in 2003, today just one element of their multidisciplinary firm, the Guild Group. Finally, the pair decided to relocate to Cape Town.

It was in 2009 that the McGowans challenged a selection of artists to create their dream project for the now-titled Art Joburg fair, presenting the group show under the name Southern Guild, which they were using for the first time. “It was a very open concept, but it was about pushing the boundaries and being propelled to a different place,” says Trevyn. “The beginning impulse of it all was so exciting.”

The project helped launch the careers of artists such as Porky Hefer, who introduced his anthropomorphic “nests” in that first show. Also included were multidisciplinary design company Dokter and Misses, and furniture maker Gregor Jenkin, all of whom have been represented by the gallery ever since. Over the years figurative sculptor Justine Mahoney, furniture designer John Vogel, and Andile Dyalvane, whose earthy, elegant ceramic works coated with abstract designs are slated to go on view in the fall, joined the roster.

While the gallery now participates in major fairs such as Salon Art + Design in New York, Design Miami/, and PAD London, an element of risk-taking and propulsion remains. Take, for example, the young ceramic artist Zizipho Poswa, who is one of Southern Guild’s most dramatic success stories.

Several years ago, Julian invited her to join a group exhibition at the gallery, and she’s been on an upward trajectory ever since, expanding her practice to include striking, large-scale forms that

Clockwise from left: Inside Southern Guild’s Cape Town gallery. Porky Hefer’s Fluoroheliate Monoxide. Justine Mahoney’s recent exhibition “Mage” at Southern Guild.

Umlisela Nomthinjana (Youth Collectively)

by Andile Dyalvane.

chronicle her journey as a Xhosa woman. Two of Poswa’s works were acquired by the Los Angeles County Museum of Art last June, and her wait list continues to grow. “There is that kick— you feel it in your stomach because it’s unlike anything you’ve ever seen before,” says Trevyn of discovering South African talent. “We are looking for a distinctive voice and a strong personal narrative.”

This summer, guests will be able to immerse themselves in the continent’s craftsmanship with the opening of Xigera, a five-star safari hotel in the lush Okavango Delta in Botswana. Dotted throughout the 12 suites are bespoke furnishings and sculptures by Southern Guild artists.

Artisans from Ghana and Ethiopia have also been tapped to craft everything from baskets and linens to tableware. “What we do is more than just representing artists,” Trevyn says, “we are creating a community.” southernguild.co.za LUCY REES GALERIEMAGA ZINE.COM

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Amazing Space

L The library of a Liaigre-designed house in Kanagawa, Japan. Above: Sliding cedar panels, designed by Liaigre’s creative director, Frauke Meyer, and her team, connect the home’s tearoom, or chashitsu, to the outdoors.

iaigre is undergoing an evolution, not a revolution,” says Frauke Meyer, creative director of the famed French interiors house. Four years ago, Christian Liaigre, the firm’s legendary founder, stepped down after 31 years at the helm and Meyer was tasked with writing the next chapter of the global design powerhouse, which has 25 showrooms in 11 countries and a sterling reputation for creating interiors and furnishings that are both understated and supremely elegant.

But if there was any question about whether Meyer, who had been with the company for 18 years before her ascension to the top design post, would excel at the challenge, the new book Liaigre: Creation 2016–2020 (Rizzoli) extinguishes any doubt. Encompassing five poetic residences that were wholly conceived by the firm and shepherded to completion by Meyer, the tome vividly illustrates the brand’s enduring commitment to bespoke craftsmanship on every level. “The goal was to treat each house in a deep and sensitive way that allows the reader to walk alongside our team on the creative path of each project,” explains Meyer. “I wanted to raise the curtain on what is usually kept secret.”

MARK SEELEN, COURTESY OF LIAIGRE. OPPOSITE, CLOCKWISE FROM TOP: COURTESY OF PHAIDON; COURTESY OF PAVILION BOOKS COMPANY; COURTESY OF ASSOULINE; COURTESY OF POINTED LEAF PRESS; MARK SEELEN, COURTESY OF LIAIGRE

A remarkable new monograph chronicles exceptional interiors designed by Liaigre’s creative team

To that end, each chapter is prefaced by vignettes of material inspiration and essays detailing the team’s holistic approach. For instance, the 43,000-square-foot palace created for a high-profile New Delhi family was born out of aesthetic paradoxes, at once satisfying a desire for modernity while referencing Indian history and culture. “It was very challenging to deal with such a large surface and make it comfortable, welcoming, and warm,” recalls Meyer. “We also had to make the design evolve simultaneously with a growing family, which required a lot of agility.”

Additional sojourns to Paris, Saint Moritz, and the Kanagawa region of Japan are chronicled, but Meyer’s most cherished feat is a grand estate in Munich, which took design cues from Milan’s landmark Villa Necchi Campiglio.

Featuring rare materials like cognac-stained cedar, green onyx, and porcelain tiles from the esteemed Porzellan Manufaktur Nymphenburg, the dwelling perfectly encapsulates the team’s shared attention to detail. “What I particularly appreciate in this project is the highly demanding quest for ultimate luxury,” she says.

Perhaps most important, Meyer believes that the monograph is a tribute to the lessons she learned from Christian Liaigre about creating a meaningful narrative through design. “He taught me that the time dedicated to finding the perfect approach is the most crucial part of the whole story.” liaigre .com, rizzoliusa.com GEOFFREY MONTES A sculptural spiral staircase in Munich, just one of the design highlights in the new book Liaigre: Creation 2016-2020.

SUMMER BOOKS WE LOVE Living on Vacation

Every day is like a holiday when you call one of the houses showcased in this book home. This transportive volume features contemporary retreats in remote locations, with highlights including homes by Studio Rick Joy, Marmol Radziner, and Alberto Campo Baeza. Phaidon, $50

Pool

In journalist Christopher Beanland’s graphic celebration of summertime bliss, readers can immerse themselves in incredible feats of engineering, like a nearly 450-foot-long saltwater pool in Vancouver and a German coal mine transformed into an aquatic oasis.

Batsford, $26

St. Tropez Soleil

Known for its sun-kissed beaches, celebrity sightings, and unabashed joie de vivre, Saint-Tropez is, not surprisingly, the French Riviera’s most famed summer destination.

This dazzling 300-page tome traces the seaside hot spot’s humble beginnings as a writers’ haven to its ultrachic, sybaritic present.

Assouline, $95

A Garden for All Seasons

In the 1950s, heiress Marjorie Post tapped top landscape architects to create ornate gardens for Hillwood, her sprawling estate in Washington, D.C. This lush volume explores the foliage that makes the compound, now a museum, look perfect year round. Rizzoli, $50 —G.M. GALERIEMAGA ZINE.COM

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ACCEPTING FINE CONSIGNMENTS

Look for our Next Online Auctions: New Mexico Now: Spanish Colonial to Spanish Market Online Only | July 18–26, 2020 Western Decorative Arts and Objects Online Only | August 14–22, 2020 Coming Soon: Annual Signature Auction – November 14, 2020 Barbara & Ed Okun Collection – Fall 2020 Watches, Wine & Jewelry – Fall 2020 Inquiries: curator@santafeartauction.com 505.954.5858 santafeartauction.com @santafeartauction

PAUL LANTZ (1908–2000), Chamita, ca. 1938 oil on canvas, 30 1/4 x 36 1/4 inches SOLD : $16,800

FRANÇOIS DISCHINGER

Artist David Salle’s light-filled studio in the Hamptons opens to the outdoors, offering views of the landscape. Shown, his work Tree of Life (Faces) (2020).

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OPEN INVITATION

Classic elegance meets cozy luxury in a Hamptons hideaway radiantly reimagined by Robert A.M. Stern Architects and interior designer Dara Stern

BY TIM MCKEOUGH PHOTOGRAPHY

BY ERIC PIASECKI STYLED BY PHILIPPA BRATHWAITE

At an East Hampton home renovated by Randy Correll of Robert A.M. Stern Architects and designer Dara Stern, Circa Lighting lanterns are installed on a terrace above a table accented with a Kuba cloth runner and surrounded by RH chairs. The hurricanes and tray are by Mecox, and the faceted vase is

by Hitoshi Kato from Roman and Williams Guild. Landscape designer Justin Terzi oversaw the gardens.

For details see Sources.

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n a lane of towering sycamores, with the sound of ocean waves crashing on a nearby East Hampton beach, stands a gracious cedar-shingle house with expansive, columned porches bordered by swells of hydrangea, boxwood, and Russian sage. Everything about the residence, thoughtfully tailored to maximize comfort and emphasize connections between indoors and out, exudes luxuriously low-key living.

The picture was considerably different a few years ago, when a couple purchased the 8,000-square-foot home, composed of three connected white clapboard boxes built in the 1920s. “It looked like a ho-hum Leave It to Beaver Colonial house,” says Randy Correll, a partner at Robert A.M. Stern Architects, the firm hired by the new owners to oversee a renovation. With small windows, few doors, and only a tiny backyard porch overlooking a featureless lawn, the dwelling almost seemed to shun its enviable setting.

Inside, eight-foot-high ceilings capped the ground-floor living spaces, making them feel squat and dark. “It was really

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oppressive,” says Correll. “Most people, given the price of the lot, would have viewed a house like this as a teardown.”

His clients, however, saw a diamond in the rough and directed Correll and his team to work with it. Avid art collectors and fans of the proud simplicity of New England farmhouses, they asked him to craft a home that married a laid-back beach house sensibility with the rugged refinement of a country manor.

One of Correll’s inspirations was a nearby late-19th-century house by McKim, Mead & White. Specifically, it provided a model for the long front porch he designed with graceful, muscular columns and generous outdoor sitting areas at either end. Correll also changed the home’s siding to cedar shakes, as well as completely reconfiguring the windows and adding multiple sets of French doors to enhance access and views to the outdoors while filling the interiors with abundant natural light.

But his most audacious plan was to slice horizontally through the entire main volume of the house above the first floor, so he could jack up the second floor and roof to raise the ceilings in the living and dining rooms by two and a half feet.

As work got under way, however, the construction team made the case that they could demolish and rebuild that portion of →

Paintings by Israel Lund encircle the dining room, where a Fortuny light fixture hangs above a custom-made table by Classic Cabinets and chairs by Luther Quintana; the suede chair fabric and cowhide rug are by Dualoy. Opposite: Correll rebuilt the central portion of the house, raising the ceiling heights, and added columned porches to the front that were inspired by a 19th-century McKim, Mead & White home nearby.

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“ The home is all about the indoor-outdoor experience,” says architect Randy Correll.

“It’s just a joy to be there”

In the library, dusky lacquered walls provide a contrasting backdrop for Sean Scully artworks and sofas upholstered in a creamy Rogers & Goffigon fabric. The cocktail table, custom designed in the style of Karl Springer, is topped by a Vedran Jakšić bowl from Roman and Williams Guild.

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From top: In the master bedroom, armchairs crafted by Luther Quintana in a Holly Hunt fabric are paired with a rug by Stark Carpet; the fireplace is a custom design by Robert A.M. Stern Architects. In the adjoining bath, the fixtures and fittings are by Waterworks, the sconces are by RH, and the stool is by Made Goods; the floor is Thassos tile inlaid with strips of Kromoglass.

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the house entirely for roughly the same cost, with the added benefit of a new poured-concrete foundation.

The architect and owners agreed, though they opted to retain one of the original wings, which now contains a dramatically reconfigured kitchen and a double-height family room. On the opposite side of the central living and dining areas, Correll created a library finished in midnight-blue-lacquered paneling with a cast-glass fireplace and a screened porch.

To furnish the home, the owners tapped their longtime interior designer, Dara Stern, who developed a formal-meets-relaxed scheme that mixes big, welcoming sofas upholstered in nubby off-white fabrics with graphic accent pieces ranging from handwoven African baskets to Moroccan tables with inlaid arabesque details.

“Through an assignment abroad, the wife had made contacts with furnishings resources in Morocco, and I loved the pattern and character they added to the spaces,” says the designer, who installed Moroccan cocktail tables in the living and family rooms, stools in the library, and nightstands in the master bedroom.

“For the most part, I kept the palette neutral and emphasized texture over color or pattern.”

The subdued hues also work well as a backdrop for the couple’s collection of mostly colorful, largely abstract art. “It kept me on my toes,” says Stern, who conceived her design scheme around pieces by Frank Stella, Howard Hodgkin, Sterling Ruby, and others.

Landscape designer Justin Terzi oversaw the lush gardens, building on Correll’s decisions to relocate the driveway from the front to the side of the house and shift the pool so it aligns with views from the living room, library, and master bedroom. Terzi drew inspiration from traditional French gardens but kept the overall vibe relaxed. “I did a formal rose garden and a parterre on either side of the pool, and I planted a ton of white hydrangeas everywhere,” he says. “I also created an allée of dogwood trees along the driveway, and where there were already beautiful cherry trees, I added more.”

He finished it off with a bountiful vegetable garden tucked behind a manicured hedge. “That’s for the husband,” he says, “because he loves to cook.” It’s not unusual to find him spending lazy late afternoons tending the grill for meals enjoyed by family and friends in the rose garden when they’re not all relaxing on the porches or taking dips in the pool.

Together, the design team created a whole new personality for the house, giving it fresh life. “If before it felt like going into a cave,” says Correll, “now it’s all about the indoor-outdoor experience. It’s just a joy to be there.”

A work by Frank Stella presides over the living room, where custom-made sofas and an ottoman by Luther Quintana surround a Moroccan cocktail table; the upholstery, accent pillows, and curtains are all Holly Hunt fabrics, and the rug is by Beauvais Carpets.

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2 Interior designer Dara Stern chose an elegant silk lamp

by Fortuny under the Venetia Studium brand to hang above the dining room table. Founded in 1906 by Mariano Fortuny, the Italian company still uses his painstaking process of working with opaline silk. fortuny.us

3 “The sunroom is a totally new addition to the house,” says Correll. “Our client loves porches and couldn’t have enough.” Facing a scattering of old sycamore trees, the light-flooded space is furnished with a sofa, a chair, an ottoman, and a rug

by RH. rh.com 4 “We reconfigured the original stair hall with French doors so that there’s an immediate view into the garden,” explains Correll of the double-height entry. A violet canvas by American artist Mark Flood gives the area an instant burst of color. peresprojects.com 5 Gracing the top of the stairs is a multipanel melt-coat sculpture created

by Harry Bertoia in the 1950s.

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(1, 3, 4, 6, 7, 8) ERIC PIASECKI/OTTO; (2) COURTESY OF FORTUNY.US; (5) COURTESY OF LOST CIT Y ARTS

1 A suite of six etchings and aquatints by artist Sean Scully hangs in the library, which was painted by Prelude Painting in a shade of navy lacquer. “The color is so deep that it looks almost black,” says Randy Correll of Robert A.M. Stern Architects.

“It was inspired by a room we had done in East Hampton that the clients loved.” seanscullystudio.com, preludepainting.com

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4 The brass maquette, from Manhattan antiques shop Lost City Arts, was originally given to famed architect Gordon Bunshaft as a gift from the sculptor. lostcityarts.com

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6 Landscape designer Justin Terzi riffed on formal French gardens for the estate, deploying boxwood hedges and Russian sage to border the pool area. “Justin is a very thoughtful and artistic designer,” says Correll, who introduced him to the clients. “There’s a formality in his geometry.” justinterzidesign.com

7 White roses climb the home’s north façade, which is paved with granite from Williams Stone Company.

Daybeds by Walters Wicker offer a soigné perch for poolside lounging. williamsstone.com, walterswicker.com 8 “We added bay windows to the kitchen to bring in more light,” says Correll.

The bright space now features pendants from Circa Lighting, a Wolf range, and a backsplash and fittings by Waterworks. circalighting.com, subzero -wolf.com, waterworks.com

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Quidelesti aut alitate ped expero et odic to bla solentur aut undunt vollor mi, aut que lab im quia sequatur? Qui unt quiame sini cus.

Hari torernate eaqui tem rem doluptio cullam ea quis etur?

Xeritati reperum quo dis et etur sed qui quat volenis et rercium quae erum sit ium nonsequ isitatintio. To el et moluptat quidendam, volum re cum fuga. Itasim ex et uta dolupta sition culliquame et re veniat.

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Seated in his studio in East Hampton, David Salle is flanked by a painting in progress (at right) and the recently completed Tree of Life (Faces).

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ELEMENTS OF

STYLE For over four decades, mix master David Salle has painted ever-evolving, always-arresting visual mash-ups whose meanings remain tantalizingly out of reach

BY TED LOOS PHOTOGRAPHY BY FRANÇOIS DISCHINGER

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PAINTING CAN BE UTTERLY MYSTERIOUS.

Above: A work in its early stages hangs behind a table with brushes. Below: Vintage Wim Rietveld chairs stand near another painting in progress (left) and Tree of Life #4.

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Why does one arrangement of color and form galvanize our attention and serve up a thrill, while another, seemingly similar composition falls flat?

At 67, painter David Salle is in a position to provide some answers. An upcoming survey at the Brant Foundation in Connecticut (rescheduled for the fall because of the COVID-19 pandemic) covers the full sweep of his career and offers a prime opportunity to reassess his place as one of the most-admired painters of the past half century.

Notably, Salle is also one of the best art writers around— especially in terms of appreciating other painters—as his 2016 book, How to See, demonstrated. Very few people can do a thing and write about that thing as articulately as he can.

So when Salle ushers me into his Brooklyn studio on a warm spring day, I’m keenly alert to his commentary on everything related to art, starting with the trio of works in progress before us. All three paintings reflect his signature collagelike approach, combining sometimes discordant imagery in fascinatingly ambiguous ways, tightly packed but never too busy, rhythmically resounding in symphonic fashion, suggestive but never obvious.

One painting has among its elements a receding stack of bright red cigarette boxes, a glove, a house, a plantlike form, a 1950s-looking male clad in pajamas, and a naked woman—a recurring presence in Salle’s oeuvre. But as I try to parse out the meaning (is he looking at her?), the artist waves me off. “A list of images does not a painting make,” says Salle, who casts a slim, elegant, and composed figure himself. “The imagery is constantly changing, it’s evolving, it circulates.

The images are chosen in a purely instinctive, intuitive way.

It’s the organization of those things that is the art.”

Salle, who splits his time between Brooklyn and East Hampton, where he has a home and studio, doesn’t begin by sketching smaller versions of his paintings but instead digs right in. “I start with one image,” he says. “In this one I asked, ‘What would happen if a bunch of cigarette packs weren’t cigarette packs but became a kind of architectural structure like a ziggurat?’ It’s literally a building block for this painting. The other stuff comes out of a feeling of

spatial engagement, something theatrical and dramatic.

And I’m simply casting the parts of that drama with images.” He adds that the viewer then has “the fun of fitting the parts of the story together.”

An Oklahoma native who grew up in Kansas, Salle went to CalArts to study with the late great John Baldessari when he was 17. He moved to New York in 1976 and his work quickly gained traction, becoming associated with the so-called Pictures Generation (Cindy Sherman, Richard Prince, Barbara Kruger), thanks to his often-ironic use of found images. He certainly had good taste in dealers along the way, having worked with legends like Leo Castelli, Bruno Bischofberger, Larry Gagosian, Mary Boone, and Jeffrey Deitch; he now shows with Per Skarstedt.

The Brant exhibition (exact dates to be determined) features some 50 works and is Salle’s first big survey in 20 years. The artist, who famously had a solo show at the Whitney Museum when he was just 34, says he is looking forward to the exhibition as a way “to see what has stayed the same, what’s changed.”

In his view, the constant in his work has been “compositional complexity and sophistication—or let’s just say emphasis.” And as for what’s changed, “I see my drawing coming out more and more,” he says. As he thinks about it, he adds, “My work, stylistically, has probably changed more than anyone else’s in my generation.”

The show is also an opportunity to introduce Salle’s work to younger viewers. “People get used to seeing things in reproduction,” he says. “Some have a mistaken idea that seeing it online is seeing it, and it’s not.”

Eight of the works are from the collection of Brant Foundation creator Peter Brant—he’s a longtime fan of the artist—while the rest are on loan. Some haven’t been seen by Salle in years, including Old Bottles, a 1996 diptych featuring bits of decorative patterning, butterflies, glassware, and bottles surreally collaged with images of women, including two who are strolling, hands behind their backs, through a colonnade. The painting, which sold for almost $500,000 at Christie’s London two years ago, seems to hint at some intriguing but ultimately elusive narrative. Salle is alert to wordplay, and of course the saying about old wine in new bottles comes to mind. “A nice metaphor,” he says, laughing.

As with his complex compositions, there isn’t one easy story line for the Brant exhibition in terms of his career. It’s not a comeback, since he never went away. It’s not a victory lap, exactly, and it sure isn’t a swan song, given his creative vitality and steady production. Truth is, even Salle’s not sure how it’s going to go over. And that, the artist says, “is the fun part.”

Above: The easel displays a study of red tulips. Below: A paint palette rests on a chaise next to a work titled Under the Earth.

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Inge Onsea and Esfan Eghtessadi, the couple behind the fashion brand Essential Antwerp, hired designer Gert Voorjans to revamp a former French consulate into their family home in Antwerp.

A sculpture of an archer by Herbert Ward stands at one end of the pool. For details see Sources.

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ARTFUL

diplomacy

Balancing Belle Epoque elegance with progressive panache, designer Gert Voorjans transforms a former French consulate into the Antwerp home of Belgian fashion duo Inge Onsea and Esfan Eghtessadi

BY THIJS DEMEULEMEESTER PHOTOGRAPHY BY JOSÉ MANUEL ALORDA

Voorjans opened up a columned doorway, flanked by a David Salle grisaille painting and a Jean Dubuffet painted sculpture; it connects the stair hall to a salon. Opposite: Lush plantings and mirror-paneled walls lend an exotic air to the dining room; the Napoleon III chairs are finished in black lacquer, and the floor is inlaid with rectilinear patterns of glossy dark rosewood.

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omey is hardly the first word one would have used to describe Hôtel Villinger, the stately neoclassical manor that long served as the French consulate in Antwerp. Although it was built as a private residence in 1910 by German architect Paul Schultze-Naumburg, the building was bought by the French government after World War II and its interior converted to anonymous offices and reception areas. “Over time, all the character had been squeezed out of the house,” says Gert Voorjans, the Antwerp-based interior designer who was enlisted to give the place a makeover when it was acquired by a pair of Belgian entrepreneurs several years ago.

Esfan Eghtessadi and Inge Onsea, the husband-and-wife team behind the fashion brand Essentiel Antwerp, turned to Voorjans to reinvent the bourgeois building as their family home.

With a dash of imagination, one might even compare the results to a haute couture runway show: the parade of shifting colors, the exquisite craftsmanship, the array of historical references.

Hôtel Villinger can also be seen as a self-portrait of its flamboyant owners. Dynamic entrepreneurs, Onsea and

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Eghtessadi adore contemporary art, bold fashion, parties, and humor. A sense of ebullience jumps out at you from the walls.

Take the former winter garden, a space Voorjans recast as a glamorous, jungle-themed dining room. The mirrors create the illusion of being enveloped by the greenery of the garden indoors. Funky floral upholstery and curtains made of a graphic black-and-white silk add to the luxuriously whimsical effect.

“Hôtel Villinger was commissioned at the start of the last century by Walter Villinger, a German businessman whose firm’s imports included exotic woods through the Port of Antwerp,” says Voorjans. The designer deliberately referenced that history, including in the alluring ground-floor smoking room, where bespoke paneling in polished Indian rosewood conjures an opulent colonial ambience.

Schultze-Naumburg designed the mansion to accommodate live-in staff and for receiving official guests around the central staircase in the entrance hall. “That Belle Epoque fuss around reception and service is inconsistent with contemporary comfort,” says Voorjans. “I wanted to make sure visitors would be immersed in the spirit of the home as quickly as possible.” →

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“I don’t interfere with the owners’ contemporary art collection,” says Gert Voorjans.

“A house cannot be a straitjacket in which there is no scope for the clients’ input”

A large Sterling Ruby painting provides a striking contrast with panels of Tassinari & Chatel chartreuse damask in the salon, where velvet-clad 19th-century Italian sofas are joined by a green settee from the original Concorde waiting lounge. The mirror is French neo-Renaissance, the lapis lazuli–color Lunéville dogs are antique, and the Aubusson carpet is from the 1930s.

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Walls of Indian palisander line the library, where a work

by Jean Dubuffet is installed over the Rosso Levanto marble fireplace. A 19th-century ajourĂŠ metalwork lantern from India hangs above a claw-foot antique sofa, a Napoleon III chair in tufted Moroccan leather, and an 18th-century Tuscan floor cushion. Opposite: The master bath features a shower and tub lined in Arabescato marble with fittings by Lefroy Brooks.

It is in the stair hall, which retains its original wainscoting and parquet flooring, that the formality of Schultze-Naumburg’s architecture is most tangible. To soften the rigidity of this space, Voorjans broke through one wall to create a new vista, framed by ionic columns, through a salon and out to the garden. But what really propels the space into the present day is the selection of modern and contemporary artworks.

Nowhere is the mix more daring and erudite than in the adjoining salon. Subtly alluding to the home’s consulate past, Voorjans mounted a French Renaissance Revival trumeau mirror atop a reflective fireplace surround, which he designed in an Art Deco spirit. The dialogue continues with the Aubusson rug and the silk damask wall covering by Tassinari & Chatel, the Lyon fabric maker founded during the reign of Louis XIV. Countering the room’s decorative seriousness are playful pieces like a Spider-Man in Perspex and the large Sterling Ruby painting that hangs brashly over the classical moldings and wall

covering, giving the space an iconoclastic kick. “I don’t interfere with the owners’ contemporary art collection,” says Voorjans.

“A house cannot be a straitjacket in which there is no scope for the clients’ input. I have freely played with a stylistic program spanning 300 years. It goes without saying that I afford that same freedom to my clients.”

The upper floor is reserved for the private rooms. The children’s bedrooms are housed on one side, while the other contains Onsea and Eghtessadi’s master suite, sumptuously appointed in a palette of neutral tones with sunny accents. In their bath, Voorjans used an Art Deco–inspired theme, creating an exuberant hall of mirrors, framed with elegant metal trim.

“The clients are people who sleep in beautiful hotels all over the world,” says Voorjans, who conceived the master suite as a personalized hotel room. “But I guarantee you that the enfilade of bedroom, bath, and individual dressing rooms is something they never had seen before.”

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SECTION

In a new light

BY IAN PHILLIPS

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J. C. LETT

A cultural renaissance in the South of France attracts a next wave of artists, collectors, and galleries

Mark Handforth’s Red on Red (2017), installed at the Domaine du Muy in Le Muy, France.

“It’s a way of entering into contact with the island,” explains its director, Charles Carmignac, whose father, Édouard, inaugurated the art space’s umbrella foundation in 2018.

Housed in a Provençal villa whose farmland beginnings were featured in Jean-Luc Godard’s seminal New Wave film Pierrot Le Fou, Villa Carmignac boasts some 6,500 square feet of underground exhibition space and traditionally hosts an annual summer exhibition. (The show, whose theme for 2020 is “The Imaginary Sea,” will open on July 4.)

The French Riviera and hinterland have long been associated with artists. Paul Cézanne was born and began working in Aix-en-Provence, Pierre-Auguste Renoir bought a farmhouse in Cagnes-sur-Mer, Vincent van Gogh famously severed part of his ear in Arles, Henri Matisse spent his later years in Nice, and Pablo Picasso worked in both Antibes and Vallauris. “It’s often said they were attracted by the light,” notes Carmignac, “but there’s also the power of the sea, the smells, the vegetation, and a different relationship with time.”

In recent years, a whole slew of initiatives, both public and private, have brought a renewed cultural dynamism to the region. They include the Collection Lambert in Avignon, a museum housed in an 18th-century town mansion showcasing the collection of Parisian dealer Yvon Lambert; the Marseille Modulor (MAMO), an art space on the roof of Le Corbusier’s Cité Radieuse, spawned by the designer Ora-ïto; and La Panacée, a contemporary art space in Montpellier, located in a former royal medical college.

Then there is a bedazzling number of places to see outdoor art, such as the Commanderie de Peyrassol winery in the heart of the Var hills and the Domaine du Muy sculpture park. “Ten minutes from the highway, you’re plunged into this quite amazing wild and untouched setting,” enthuses art consultant Edward Mitterrand, who created it in tandem with his dealer father, Jean-Gabriel. Dotted around its hundreds of acres are some 40 works by the likes of Danh Vo, Sol LeWitt, and Antony Gormley.

Even more impressive is the collection of Irish businessman Patrick McKillen at the Château la Coste winery, tucked between Aix-en-Provence and the Luberon National Park. A two-hour tour of the property will lead visitors past structures

by Tadao Ando, Frank Gehry, Jean Nouvel, and Renzo Piano, as well as numerous monumental sculptures by blue-chip names, including Louise Bourgeois’s Crouching Spider.

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years for a location for an offshoot of his Brussels-based Fondation CAB, which is devoted to his passion for minimal art. He considered buying a farm in Italy and a property in Portugal before securing a modernist 1950s villa in Saint-Paul de Vence, just a stone’s throw from the magical and mythical Fondation Maeght. “If you ask most people where they want to spend a week in Europe in the summer, they’ll say the South of France,” says Bonnet. If all goes according to plan, next spring will see the opening of not only the exhibition space but also a restaurant, a shop, and a five-room boutique hotel. The entrepreneur even plans to offer guests the opportunity to sleep in a Jean Prouvé house, which will be installed in the garden.

Artists, too, have found the call of the south irresistible— Jean-Charles Blais splits his time between Paris and a 1920s villa in Vence. Sophie Calle has a hideaway in a village close to Nîmes, and Jean-Michel Othoniel and Johan Creten own a 19th-century house in the seaside town of Sète. “It’s a very inspiring place,” says Othoniel. “A total change of scenery.”

Artist Abdelkader Benchamma has chosen to settle in Montpellier, where one of his latest commissions is a ceiling fresco based on the four elements in the Hôtel Richer de Belleval. When the newly renovated 17th-century mansion opens later this year, it will accommodate a 20-room boutique hotel, a gastronomic restaurant run by local celebrity chefs the Pourcel brothers, and the new Helenis GLL art foundation.

Yet of all the towns in the South of France, the most vibrant artistically is possibly Arles, where Swiss heiress Maja Hoffmann hired Cuban-American artist Jorge Pardo to decorate boutique hotel L’Arlatan and created the Luma Foundation, housed in a series of former railway workshops renovated by the architect Annabelle Selldorf. Hoffmann has also commissioned a 183-foot-tall tower from Gehry, and hot on its heels will be the Fondation Lee Ufan Arles, Clockwise from top left: currently slated for 2022. The Tomás Saraceno’s Cloud minimalist Korean artist is working Cities/Air-Port-City 4 on the building’s restoration with Modules Metal (2010–11) at the Domaine du Muy. Japanese starchitect Ando. “It’s A striking atrium at incredible how a small, sleepy town Collection Lambert in Avignon. Alexander has become such a catalyst for Calder’s Small Crinkly artistic experiences,” enthuses (1976) at Château la Coste in Provence. A Joan Miró longtime Arles resident sculpture at Fondation photographer François Halard. “You Marguerite et Aimé Maeght.

Fondation Carmignac. really can feel a new energy.”

CLOCKWISE FROM TOP LEFT: J. C. LETT; FRANCOIS HAL ARD; ANDREW PATTMANN; COURTESY OF FONDATION MAEGHT; L AURENT LECAT, COURTESY OF FONDATION CARMIGNAC

Visitors to the Villa Carmignac on Porquerolles Island, off the south coast of France, are asked to respect a precise ritual. They are required to remove their shoes and offered a drink made from local plants.

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LifeImitates Art

An energetic layering of pink, beige, and black enamel animates the face of Chanel’s octagonal Boy·Friend Tweed Art timepiece; the design is a nod to the famed French fashion house’s most iconic textile; chanel.com. Opposite: Part of Guild Hall’s permanent collection, Lee Krasner’s monumental oil-on-canvas Untitled (1963) bursts with kinetic strokes of color. This summer brings Lee and Me: An Intimate Portrait of Lee Krasner, which celebrates the life of the Abstract Expressionist, written by the East Hampton cultural center’s former director Ruth Appelhof, who passed away in April; guildhall.org.

COURTESY OF CHANEL. OPPOSITE: GRAY MAMAY, COURTESY OF GUILD HALL

BY S T E FA N I E L I

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COURTESY OF THEODORE ALEXANDER. OPPOSITE: SERGIO LÓPEZ, COURTESY OF KASMIN GALLERY

A maze of hand-cut maple, walnut, and primavera veneer inlay creates a visual distortion on the façade of Theodore Alexander’s Garlan cocktail cabinet; theodorealexander.com. Opposite: Mexico City–born artist Bosco Sodi erected Atlantes (2019), a land-art-scaled installation featuring 64 equally spaced, seven-foot-tall cubic structures composed of clay bricks, along the Oaxacan coast, where he has an arts foundation, Casa Wabi; boscosodi.com.

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COURTESY OF THE ARTIST AND PERROTIN. OPPOSITE: COURTESY OF BALMAIN

Drawing great influence from mentors such as Op Art painter Victor Vasarely and the founder of the Spatialist movement, Lucio Fontana, Julio Le Parc masterfully entwines monochromatic forms into optical illusion in his work A Partir d’un Ciel de Van Gogh (1958–91); perrotin.com. Opposite: During Balmain’s spring/summer 2020 presentation, creative director Olivier Rousteing brought ’90s and ’00s pop culture to the runway, crafting bold ensembles that showcased the brand’s wizardry with embellishment; balmain.com.

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COURTESY OF ROBERTO COIN. OPPOSITE: BRANDON MARTIN, COURTESY OF RICE UNIVERSIT Y

The architecture of Roberto Coin’s handcrafted 18K-rose-gold Carnaby Street ring provides a sleek vessel for a sparkling face of pavé diamonds; robertocoin.com.

Opposite: A warm glow radiates from the pyramidal structure of American artist James Turrell’s Twilight Epiphany Skyspace (2012) in Houston. The ethereal installation, constructed of concrete, stone, and composite steel, lights up in a changing sequence of jewel-colored hues at sunrise and sunset; jamesturrell.com.

Vienna Secession café tables and Poul Henningsen chairs join a custom-made banquette in the drawing room of designer Bryan Graybill and attorney Daniel Dokos’s East Hampton home, which they built with the architectural firm Historical Concepts; Michael Anastassiades sconces are mounted between the windows, and the portrait was painted by Paulus Franciscus Kromjong.

Opposite: Graybill devised the Viennese-style bench that wraps around the entry hall’s Jamb fireplace, beneath a George Condo painting. For details see Sources.

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playing with the past

Inspired by the Arts and Crafts age, designer Bryan Graybill fashions an atmospheric East Hampton retreat for quiet escape and stylish revelry with friends

BY VICKY LOWRY

PHOTOGRAPHY BY ERIC PIASECKI

STYLED BY HELEN CROWTHER

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“I wanted to have lots of intimate moments

for drinking, visiting, and reading a book,� says Bryan Graybill

In the living room, whose walls are finished in a peachy-pink plaster, Graybill grouped custom sofas clad in de Le Cuona linen with a vintage Osvaldo Borsani armchair, an Edward Wormley cocktail table, and a Vienna Secession side table.

The pendants are by Roman and Williams Guild, and fireplace is by Jamb.

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The parlor walls, lacquered in a Fine Paints of Europe custom color, provide a glossy backdrop for artworks

by Georges-Lucien Guyot and a Thomas Lavin sofa beneath a Tommaso Barbi leaf chandelier. Opposite: In the kitchen, which Graybill dubbed the Orangerie, copper lights sourced from the Brimfield flea market are installed above a bronze-top island crafted

by Timeless Homes; the built-in refrigerator is by Sub-Zero, and the sink fixtures are by Waterworks.

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nyone fortunate enough to own a retreat with spare bedrooms in the Hamptons is surely familiar with the dilemma, particularly acute on summer weekends: to host or not to host? The challenge is knowing how to entertain guests with conviviality while preserving the beachside tranquility cherished by hard-charging New Yorkers seeking to decompress.

Bryan Graybill, a Hamptons-based interior designer, was all too aware of the pleasures and perils of hospitality. The Georgia native used to joke with his husband, attorney Daniel Dokos, that they ran a hotel in their previous East Hampton home, where friends routinely decamped. “We love having guests, but we don’t like to see them before cocktail hour,” Graybill says with a laugh.

After acquiring a nearby property several years ago, they flirted with the idea of renovating the 1950s dwelling on the site—which measures just under an acre—but ultimately decided it had to go. “It was bad midcentury,” Graybill recalls.

“Cinderblock, asbestos, and nautical stuff.” Instead, the designer set out to craft a new home with an old soul, inspired by a cluster of charming 18th-century buildings, like the 1770 House and Huntting Inn, just down the street in the village of East Hampton.

Graybill found the ideal collaborator in Andrew Cogar of Historical Concepts, an architectural firm renowned for its classical approach, whether for renovations or new construction. “We research what makes the architecture of a place great, embracing all of the regional influences,” Cogar says. Together they conceived what Graybill dubbed the Dowager Inn, a seven-bedroom clapboard residence with mismatching windows suggesting an evolution over generations while projecting a modern sensibility.

“There’s a fine line between creating authenticity and being locked into a period piece,” says Cogar. “It’s a balancing act.”

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A work by Janet Liebowitz hangs in the master bedroom, where vintage lamps by Roger Rougier flank the custom bed by Graybill; the pillows and curtains are by de Le Cuona. Opposite, from top: The master bath features a vintage Europhane ceiling light, Woka Lamps Vienna sconces, and a Catchpole & Rye tub outfitted with Waterworks fixtures; the floor is by ABC Stone. A work by George Condo hangs next to the doorway leading to the master suite’s dressing room, which is painted in Sierra, a pink by Fine Paints of Europe.

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when the party starts. “My husband and I like the idea of an apartment within the house where we can feel cozy when it’s just the two of us,” says Graybill, “or escape to when we have a houseful of people.”

The evocative interiors were influenced by 19th-century English Arts and Crafts and the turn-of-the-century Vienna Secession movement. “Both were reactions to overly ornamental, fussy designs and tied right in with Colonial architecture,” says Graybill, who became intimately knowledgeable about British style and refined his hospitality design skills while working for the late London-based decorator David Collins from 2008 to 2013.

The entry hall at Dowager Inn sets a stylized period mood.

Visitors are greeted by a George Condo portrait of a butcher overlooking a Viennese-inspired built-in bench that Graybill designed to wrap around the fireplace. It’s an inviting spot to kick off both sandy footwear and weekend festivities. Graybill admits to an obsession with banquettes and built-in furniture, a mainstay of 19th- and early-20th-century European interiors. A jigsaw puzzle sofa spans three walls of the parlor and another embraces a substantial corner of the drawing room, while comfy benches beckon in the breakfast area, the library, and the couple’s pink-hued dressing room. “I wanted to have lots of intimate moments for drinking, visiting, and reading a book,” the designer says.

A storyteller at heart, Graybill threaded the welcoming theme of the Dowager Inn throughout, from providing individual keys for the guest bedrooms to the warm, cafélike ambience of the living room, whose peach-color walls match the shade found in his childhood home. Vintage Viennese, Danish, and Italian pieces mix elegantly with custom Graybill designs beneath the room’s high-gloss ceiling, while a piano and a very British marble-top mahogany bar complete the vibe. “It was important to have a proper place for people to have cocktails,” he admits. “I’m a decent cook, but I get nervous having people congregate in the kitchen.”

The outdoor spaces are equally distinctive. A gracious porch, kitted out with black wicker furniture, offers restful views of the swimming pool, whose poolhouse—inspired by East Hampton’s original schoolhouse, a preserved landmark down the street— doubles as a bar in the summertime. “My mother is a great hostess, and she loves having big parties,” Graybill says. “My brother and I grew up learning how to bartend before we learned how to drive.”

Resplendent with boxwoods and rhododendron, gardenias and creeping jasmine, the gardens, created by Hooten Land Design, look deceptively expansive—much like the home itself, with its multitude of appealingly idiosyncratic spaces. “I wanted the house to feel like it rambles and flows, to have this fluidity over time,” Graybill says, “as if it existed prior to us and could carry on past us.”

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MAINE ATTRACTION A remarkable house on the Maine coast conceived by Isamu Noguchi and architect Wallace K. Harrison showcases the beauty of timeless design

BY JENNIFER ASH RUDICK

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PHOTOGRAPHY BY TRIA GIOVAN

Sea Change, named after a line sung by the spirit Ariel in Shakespeare’s The Tempest, sits on a small peninsula jutting south from Northeast Harbor, a quiet village on the southern coast of Mount Desert Island. It’s one of many remarkable homes featured in Jennifer Ash Rudick’s new book, Summer to Summer (Vendome).

Isamu Noguchi designed the white beechwood table to resemble a ship’s hill. Burned in a fire in the late 1990s, the piece was re-created by sculptor and woodworker Mark Loftus. The vintage 1940s chairs are

by Charles and Ray Eames.

Opposite: In the living room, a large picture window offers enthralling views of the water. Walls are of gray-stained pecky cypress and knotless white pine. Woodworker Jim Robinson reconstructed every meandering curve of the living/ dining room’s original ceiling. The coffee table is by Florence Knoll.

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rtist Isamu Noguchi and architect Wallace K. Harrison’s 1940 design for a glass-and-birch house, the sinuous lines of which echo the Maine coast on which it sits, embodied the concept “site-specific” long before the term was popularized.

In the mid-1930s, Harrison, one of the lead architects of Rockefeller Center, the United Nations, and eventually Lincoln Center, and a champion of civic art, individual liberties, and the open exchange of ideas, commissioned Noguchi to create the 22-foot-high, stainless-steel bas-relief sculpture News for the lobby of 50 Rockefeller Plaza. Noguchi’s depiction of five journalists was unveiled to great acclaim, but it would be one of his last representational pieces before his work became more abstract and nuanced, a result of the artist’s growing obsession with void, change, and hope, after time spent in a Japanese-American internment camp.

In the master bedroom, the walls are pecky cypress. The built-in cabinetry has the sleekly efficient look of an ocean liner, and the curved form of the desk reflects the shoreline beyond. Opposite: An indoor swimming pool was added in 1960.

About 1940, William A.M. Burden, a scion of the Vanderbilt family, a president of the board of the Museum of Modern Art, and Harrison’s close friend, purchased a small peninsula jutting south from Mount Desert Island.

He turned to Harrison and Noguchi with the directive to imagine something completely different from the area’s typical Shingle Style estates, a structure that would reflect their shared vision for a future of opportunity, individual freedom, and open discourse. Their response was a low-lying house tucked into the coastline that umbilically ties art and architecture with nature and shelter.

Upon entering, one is immediately struck by the panoramic view through enormous picture windows of the rocky shoreline and Somes Sound beyond, where the horizon is broken only by a small, pine-covered island. A large, open living and dining area curves like an ocean wave and has walls of gray-stained pecky cypress, as well as an undulating ceiling. A dining table shaped like a ship’s hull continues the sea theme.

In 1996 Ordway Burden, the youngest of William and Margaret Burden’s four sons, and his wife, Jean, inherited Sea Change; shortly thereafter, however, it burned to the ground.

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architecture, was in awe of Harrison and Noguchi’s collaboration. “The place kind of seeped into my skin,” she told the New York Times. She set about rebuilding, guided by the research of Elizabeth Dean Hermann, an architectural historian, who thankfully had been studying the house, and the photographs of her husband, architect Heinrich Hermann.

“I thought I understood the genetic code of the building,” Heinrich admitted in the same New York Times article.

Hermann and the Burdens worked with contractor Dan McGraw of Atlantic Builders; sculptor and woodworker Mark Loftus, who re-created Noguchi’s dining table; and master woodworker Jim Robinson, who painstakingly reproduced every curve of the living/dining room’s ceiling.

Meanwhile, Burden and Hermann tracked down certain obscure materials such as wall panels of Weldtex, a textured plywood also used in Radio City Music Hall.

Those who have been to both the original house and Jean Burden’s reconstructed version cannot tell the difference, a testament to her singular determination to preserve a timeless, if unique, design. In 2009 the house was listed on the National Register of Historic Places, which notes its exceptional modern architecture and a rare Harrison design outside of New York.

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

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

Pages 10, 87: 2020 Calder Foundation, New York/ARS, New York. Pages 13, 104–09: 2020 The Isamu Noguchi Foundation and Garden Museum, New York/ARS, New York. Pages 14, 61, 72–75, 78: 2020 David Salle/VAGA at ARS, NY. Courtesy of Skarstedt, NY. Pages 30, 40: Anish Kapoor. All Rights Reserved, DACS, London/ARS, NY 2020. Page 39: 2020 ARS, New York/ VG Bild-Kunst, Bonn. Page 48: 2020 Georgia O’Keeffe Museum/ARS, New York. Page 65, 68, 69: 2020 Frank Stella/ARS, New York. Pages 78, 82: 2020 ARS, New York/ ADAGP, Paris. Page 89: 2020 Pollock-Krasner Foundation/ARS, New York. Page 92: 2020 ARS, New York/ADAGP, Paris. Page 97, 103: 2020 George Condo/ARS, New York.

SMOOTH SAILING

Pages 46–47: Yacht by Sanlorenzo; sanlorenzoyacht.com. Interior design and select furnishings by Patricia Urquiola; patriciaurquiola .com. Page 46: On upper deck, Anatra sofas by Janus et Cie; janusetcie.com. Caule lamp from Flos; flos.com. Mesh deck beds by Kettal; kettal.com. Cestita lamp by Miguel Milá; santacole.com. Page 47: In salon, Beam sofa and Table à Plateau Interchangeable by Cassina; cassina.com. Burin Mini table by Viccarbe; viccarbe.com.

In bedroom, Indochine armchair

by Cassina. Nuances ottoman by Gan; gan-rugs.com.

OPEN INVITATION

Pages 62–71: Architecture by Randy Correll of Robert A.M. Stern Architects; ramsa.com. Interior design by Dara Stern. Landscape

design by Justin Terzi; justinterzidesign.com. Pages 62–63: On terrace, chairs by RH; rh.com.

Lanterns by Circa Lighting; circalighting.com. Planters from Broadview Gardens East Hampton; broadviewgardenseh .com. Planters custom finished by Carrie Swim; carrieswim.com.

Kuba cloth runner from Hemingway African Gallery; hemingwayafricangallery .com. Brazil hurricanes and faux-shagreen tray by Mecox; mecox.com. Hitoshi Kato facet vase from Roman and Williams Guild; rwguild.com. Page 65: In dining room, light fixture by Fortuny; fortuny.com. Wall paint by Prelude Painting; preludepainting.com. Custom table by Classic Cabinets; classiccabinetsandinteriors.com.

Custom chairs by Luther Quintana Upholstery, Inc. (T); lqupholstery .com. Suede chair fabric and cowhide rug by Dualoy; dualoy .com. Ted Muehling candlesticks from E.R. Butler & Co.; erbutler .com. Alfredo vase by Georg Jensen; georgjensen.com. Naoya Arakawa highball and St. Louis crystal water goblet from Roman and Williams Guild. Pages 66–67: In library, wall paint by Prelude Painting. Lamp by Mecox. Side table by Matthews & Parker (T); matthewsandparker.com. Sofa upholstered in fabric by Rogers & Goffigon (T); rogersandgoffigon .com. Vedran Jakšić bowl and Warner Walcott vase from Roman and Williams Guild. Carl Harry Stalhane vase from Lost City Arts; lostcityarts.com. Page 68: In master bedroom, basket and side table by Mecox. Lineasette porcelain vase from Lost City Arts. Custom Luther Quintana chair upholstered in fabric

by Holly Hunt; hollyhunt.com. Rug

by Stark (T); starkcarpet.com. In master bath, candlestick sconces

GALERIE (ISSN 2470-9964), Volume 5, Issue 2, is published quarterly by Galerie Media Group LLC, 101 Park Avenue, 4th Floor, New York, NY 10178 USA. Lisa Fayne Cohen, Founder/Editorial Director; James S. Cohen, Chairman; Adam I. Sandow, Chairman, SANDOW. Principal office: Galerie Media Group LLC, 101 Park Avenue, 4th Floor, New York, NY 10178. Editorial and advertising offices: GALERIE, 101 Park Avenue, 4th Floor, New York, NY 10178.

Subscriptions: Visit galeriemagazine.com, or call 818-487-2019 (in the U.S.) or 855-664-4228 (toll-free, outside the U.S.).

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by RH. Shades by Manhattan Shade & Associates; manhattanshade.com. Wall paint

by Prelude Painting. Henry tub fittings, Margaux tub, Opus sink fittings, and Crystal vanity

by Waterworks; waterworks.com.

Stool by Made Goods (T); madegoods.com. White vase from Mecox. Hitoshi Kato vases from Roman and Williams Guild. Page 69: In living room, wall paint by Prelude Painting. Luther Quintana curtains, pillows, sofa, ottoman in fabric by Holly Hunt. Custom rug

by Beauvais Carpets (T); beauvaiscarpets.com.

ARTFUL DIPLOMACY

Pages 76–83: Interior design and select furnishings by Gert Voorjans; gertvoorjans.com. Page 79: In dining room, wall covering

by Jim Thompson Fabrics; jimthompsonfabrics.com.

Griffe Montenapoleone glassware by Vetrerie di Empoli; vetreriediempoli.it. Pages 80–81: In salon, silk wall covering by Tassinari & Chatel; lelievreparis .com. Page 83: In master bath, Arabescato marble, tub, and tub fittings by Lefroy Brooks; lefroybrooks.com.

PLAYING WITH THE PAST

Pages 96–103: Interior design and select furnishings by Bryan Graybill; graybillddb.com.

Architecture by Historical Concepts; historicalconcepts.com. Landscape design by Hooten Land Design; hootenlanddesign.com Page 96: In drawing room, ceiling paint

by Fine Paints of Europe; finepaintsofeurope.com. Piano by Steinway & Sons; steinway.com.

Vintage rug from Esmaili Rugs; esmailirugs.com. Banquette upholstered in mohair by Rogers & Goffigon (T); rogersandgoffigon

Subscription prices: United States, $39.95 for one year (outside the U.S., add $40); $12.95 per single copy. For customer service and changes of address, write to GALERIE Magazine, Attn: Customer Service Department, P.O. Box 16076, North Hollywood, CA 91615-6076. Allow 4–6 weeks to receive first copy.

.com. Sconces by Michael Anastassiades; michaelanastassiades .com. Windows by Millwork Artisans; millworkartisans.com.

Page 97: In entry hall, ceiling and wall paint by Farrow & Ball; farrow-ball.com. Pendant by Charles Edwards Lighting; charlesedwards .com. Bench upholstered in wool by Maharam (T); maharam.com.

Fireplace and surround by Jamb; jamb.uk.co. Josef Hoffmann lamp from Woka Lamps Vienna; woka .com. Rug by Michael Del Piero; michaeldelpiero.com. Pages 98–99: In living room, pendants by Roman and Williams Guild; rwguild.com.

Bust from Beall & Bell; beallandbell .com. Fireplace by Jamb. Sofa upholstered in linen by de Le Cuona; delecuona.com. Vintage Osvaldo Borsani chair upholstered in fabric

by Fortuny; fortuny.com. Page 100: In parlor, wall and ceiling paint by Fine Paints of Europe. Sectional upholstered in fabric by Rosemary Hallgarten; thomaslavin.com. Page 101: In kitchen, refrigerator by Sub-Zero; subzero-wolf.com. Range

by Lacanche; lacanche.com. Sink fittings by Waterworks; waterworks .com. Stool by Garde; gardeshop .com. Page 102: In master bedroom, sheets and cashmere blanket by Sferra; sferra.com. Pillows and curtains by de Le Cuona. Coverlet

by Hollywood at Home; hollywoodathome.com. Chandelier

by Fortuny. Page 103: In master bath, sconces from Woka Lamps Vienna. Tub fittings by Waterworks. Stool by Garde. Tub by Catchpole & Rye; catchpoleandrye .com. Flooring by ABC Stone; abcworldwidestone.com.

MAINE ATTRACTION

Pages 104–09: Architecture by Isamu Noguchi and Wallace K. Harrison. Restoration by Dan McGraw of Atlantic Engineering; 207-667-3013.

Publisher assumes no responsibility for the claims made by advertisers or the merits of their respective products and offerings.

Editorial inquiries: Write to GALERIE, 101 Park Avenue, 4th Floor, New York, NY 10178, or to editor@galeriemagazine.com.

Reprints and permissions: No part of GALERIE may be reproduced or transmitted in any form or by any means, electronic or mechanical, without the express written permission of the publisher.

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

GALERIE is a registered trademark of Galerie Media Group LLC. All rights reserved. GALERIE © 2020.

PROMOTION

Ralph Pucci x Galerie Event On a beautiful February evening in Los Angeles, Ralph Pucci and Galerie cohosted a celebration of artists Marjorie Salvaterra and Jeff Quinn

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apturing the energy of Frieze LA, the Los Angeles gallery of Ralph Pucci welcomed hundreds of designers and creatives to view a new series of photographs by Marjorie Salvaterra, who was named to the “Creative Minds” list in Galerie’s spring issue. A special unveiling of a four-piece mural by Jeff Quinn on the exterior of the building welcomed guests to the soirée as did a sidewalk performance by award-winning cellist Adrienne Woods. The space buzzed with a playlist created for the event by longtime Pucci collaborator Eric Schmitt.

On hand to celebrate with hosts Ralph and Michael Pucci and editor in chief Jacqueline Terrebonne were Galerie founder and editorial director Lisa Fayne Cohen, chairman James Cohen, publisher Beth Brenner, Douglas Durkin, Richard Petit, Nina Yashar, Jason Kalman, Mallery Roberts Morgan, Madeline Stuart, and Ron Woodson.

“We were thrilled to have over 400 people in the gallery enjoying the 17 giant photographs revealing Marjorie’s unique world and Jeff’s immersive surrealistic murals and paintings,” says Ralph Pucci.

Ralph Pucci, Jeff Quinn, Jacqueline Terrebonne, Michael Pucci, and Marjorie Salvaterra.

Guests mingle at the Ralph Pucci LA gallery

Party guests admire work by Marjorie Salvaterra.

Beth Brenner and Karen Peterson of K+J Agency.

Ralph Pucci Arianne Nardo of Ralph Pucci and Erik Perez of Hello PR.

Ralph Pucci and Marjorie Salvaterra.

SIOUXZEN KANG

“We wanted the opening to be very ‘art’ inspired to tie into the energy of Frieze LA”

Annabelle Selldorf in her New York office with Per Kirkeby’s Untitled (2004).

Per Kirkeby has been represented forever

by Michael Werner, which was the very first gallery I designed back in the early ’90s. I became familiar with Per’s work there and have always loved his paintings.

I can’t remember a time that I didn’t have this painting in my New York office, and because of its location I live with it more than any other artwork. When I bought it, I hung it over the console behind my desk. I actually have two desks—one looks west, and the other looks east. One is full of papers, and the other is where I sit and work on drawings and look at things.

All of Per’s work is intensely involved with colors and juxtapositions. This one in particular has this vibrant green atop an ocher. His paintings are quite abstract but also figurative in a way—evocative of shapes, things, and even of nature. They have a kind of depth and space that I’m interested in. There’s foreground or background depending on how you look at it. Another interesting characteristic is his use of the brush that makes the painting feel almost like a drawing. There’s an immediacy that I like a great deal.

Art informs our way of thinking, but I cannot say specifically how. I never want my work to look like that of another artist, but without a doubt these influences find their way into one’s thought process about space and time. I’m convinced of that. AS TOLD TO JACQUELINE TERREBONNE

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NICHOL AS VENEZIA, COURTESY OF SELLDORF ARCHITECTS

The art world’s go-to architect, ANNABELLE SELLDORF, connects with a transfixing mixed-media work

by Per Kirkeby

YOUR STORIES AREN’T THE ONLY ORIGINALS YOU’LL BE TAKING HOME. In Santa Fe, the treasures you’ll take home are as beautiful and unique as the city itself. It’s just one of the things that makes The City Different, but there’s still so much more waiting to be uncovered.

Uncover your different at SantaFe.org