Posts Tagged ‘USA’

Exhibitions | Perfecting Warhol

Friday, February 1st, 2019

Candy Spelling, 1985,
photographed
at The Factory
Polaroid



Andy Warhol at Casa Perfect
Casa Perfect
Los Angeles | USA
15 February > 22 March



Edie & Kipp
Film still



The Couch
Film still



We feel very honoured. Casa Perfect – which, in our ignorance, The Blog had never heard of, but which somehow has heard of us – has kindly sent us an invitation to a private cocktail party celebrating its first fine art installation, during Frieze Los Angeles, when it is hosting a selling exhibition of ‘never-before-seen’ photographs and films made by Andy Warhol.

Photography was central to Warhol’s oeuvre. In the early 1960s, he began appropriating images of Marilyn Monroe, Jackie Kennedy, Marlon Brando, and Elvis Presley. Enticingly, Casa Perfect is located at Presley’s former home – he lived there for six years at the height of his career – in an exclusive area of Beverly Hills. The mid-century property recently became the LA outpost of David Alhadeff’s painstakingly-curated, contemporary furniture and interior accessories outlet, The Future Perfect.

Diana Vreeland, 1983,
photographed
in her infamous red
living room at her
5th Ave apartment
Polaroid



Crosses, 1982,
photographed at
The Factory and
used as source
material to create
prints and paintings
Polaroid



Alhadeff, who founded his company in 2003, and who also has galleries in New York and San Francisco, thinks that shopping has become a chore. Casa Perfect, where visitors are welcome strictly by appointment only, presents gallery-like vignettes in a residential setting. Alhadeff says that it is his way of providing clients with a more intimate, personal experience with important, collectable design and of ‘reawakening the excitement of discovering the new’.

It’s perhaps something of a paradox, however, that Alhadeff, whose business prides itself in presenting short-run, often handmade pieces by named designers – items that are out of reach to the vast majority of people – has chosen to exhibit Andy Warhol’s work at Casa Perfect. Despite the artist’s fixation with wealth, money and fame, he probably did more to democratise art than any artist before him. He was strongly opposed to the noble ideals of the 19th-century British Arts and Crafts movement that espoused a return to craftsmanship and rejected the Industrial Revolution. Famously embracing mass-production, Warhol once declared that he wanted to be a machine.

Lou Reed
Film still




Archie & George
Film still



Andy Warhol at Casa Perfect, featuring images of, among others, Jane Fonda, Lana Turner, Tina Chow, Candy Spelling, Diana Vreeland and Lou Reed, will include photo-booth strips, silver gelatin prints and short films. Apologies: the company refuses to share the prices of its exhibits, and there is no available online link to the show for us to post for you.

All images by Andy Warhol, from the James Hedges Foundation, courtesy Casa Perfect


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Photography | Ray K Metzker in Contrast

Friday, January 11th, 2019

Early Philadelphia, 1962



Ray K Metzker:
Black & Light
Howard Greenberg Gallery
New York City | USA
> 2 March 2019



Chicago – Loop, 1958



If there’s a spectral force lurking at the point where darkness and light bang up against one another, Ray K Metzker (1931 > 2014) captured it with his camera, bottled it and used it sparingly to imbue his starkly contrasty images with powerful sculptural form and tantalising depth.

But there was nothing ethereal about his approach. A pragmatist, who was intent on conveying the complex realities of modern, urban life, Metzker met his subject matter head-on, creating virtuoso compositions in which architecture, objects and the human form are afforded parity.

City Whispers, 1982



Pictus Interruptus, 1979



Early Philadelphia, 1963



Metzker studied photography in the late 1950s at Chicago’s Institute of Design under Harry Callahan and Aaron Siskind. When he began his career as a photographer, he rejected abstract expressionism and its preoccupation with feelings, which had dominated art in America for more than a decade, and embraced the objectivity of the emergent minimal art.

Innovative and experimental, in his later work, Metzker created images from assemblages of printed film strips; he cropped and collaged details of his own photographs to create unique and powerful new images, and he waved flimsy pieces of paper in front of his camera lens to produce random effects.

Early Philadelphia, 1969



Metzker had his first solo exhibition at MoMA in 1967. During his 60-year career as a photographer, he had more than 50 solo exhibitions at major museums around the world.

Ray K Metzker: Black & Light at Howard Greenberg Gallery features the photographer’s early street photography from Chicago in the 1950s and Philadelphia in the 1960s. It also includes images from his 1960 > 61 European excursion, photographs from the series Pictus Interruptus from 1976 >1980, from his early 1980s series City Whispers, as well as examples of his collage series Whimsy and Arrestation.

All photographs © Estate of Ray K Metzker, courtesy Howard Greenberg Gallery, New York. All prints are gelatin silver prints


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Ceramics | Made by Hand: Modernist by Nature

Friday, December 7th, 2018

Bernard Leach,
Charger with banded
decoration, St Ives,
England, c 1960s
Estimate $500 > 700



Design
Freeman’s
Philadelphia |
PA | USA
Exhibition > 10 December 2018
Sale 10 December 2018



Lucie Rie,
Handled dish,
London, late 1950s
Estimate $1,000 > 1,500



The British studio pottery illustrated alongside this piece and shortly to be sold at auction, dates from between the late 1950s and the early 1970s, when Brutalist architecture – much of which has since been demolished – flourished, however, each item was lovingly produced by hand and with the greatest sensitivity to materials.

During this period, even the elderly Bernard Leach (1887 > 1979), often referred to as the father of British studio pottery, who co-founded The Leach Pottery in remote Cornwall in 1920 and had been extremely influential, who adopted the folk-tradition approach espoused in the 19th century by William Morris, was producing pieces, such as his Charger with banded decoration, top, that would have looked very much at home against raw concrete, brutalist interiors.

Hans Coper
Composite form with
v
ertical impression,
Frome, 1970
Estimate $6,000 > 8,000



At a time when many of his peers were abandoning city life and heading for the country, it was significant that Ian Godfrey (1942 > 1992), like his mentor, Lucie Rie, chose to set up his pottery in urban central London in the 1960s. Godfrey made highly individual mythological and fantasy-based, decorative pieces, inspired by predynastic Mediterranean and Chinese bronze forms. His King & Queen in Court and Bowl with wheel design, are both included, alongside other examples of his work in this sale. Born in Austria, Rie (1902-1995) had established herself as a ceramicist in Vienna, where she came under the influence of the Secessionist, Josef Hoffman. She is, however, better known for the work she produced after fleeing the Nazis and relocating to London in 1938. Developing a style stimulated by contemporary architecture and design, which flew in the face of Leach’s philosophy, Rie, who is represented by a single, modest item in this auction, see above, was responsible for raising British studio pottery to the level of an art form that would stand alongside any other and for giving it a Modernist edge. She taught at the Camberwell School of Art from 1960 to 1971, where Godfrey was her star student, and received an honorary doctorate from the Royal College of Art in 1969.



Ian Godfrey,
King & Queen in Court,
London, c 1965
Estimate $800 > 1,200



Ian Godfrey,
Bowl with wheel design,
London, c 1965
Estimate $200 > 300



Rie’s fellow emigré, the German, Hans Coper (1920-1981) had turned up, penniless, at her workshop in 1946 looking for work but with no previous experience in a pottery studio. With her encouragement, he went on to become one of Britain’s most celebrated craftsmen. Coper also taught at Camberwell – where he also taught Ian Godfrey – and at the Royal College of Art. His pieces, such as Composite form with vertical impression, above, were often made up of individual, separately thrown shapes that he manipulated and joined to create abstract sculptural forms.

Joanna Constantinidis,
Untitled envelope form,
Essex, England 1970
Estimate $400 > 600



The early work of Joanna Constantinidis (1927 > 2000), born in York, who trained at Sheffield before moving to Essex, owed much to Leach. Singularly independent, however, having seen work by Rie and Coper, by the 1960s she had adjusted her approach and developed spare Modernist forms, like the one above, that drew inspiration from ancient Greece, medieval pottery, Staffordshire slipware and salt glaze.

Although they might well have been, the items shown were not excavated from a site where a British brutalist building once stood but have been languishing, far away from their place of origin, in important US collections in Washington DC, San Francisco, New York and Pennsylvania. Along with further items of British studio pottery items that extend the genre’s story into the 21st century, the forthcoming Design sale at Freeman’s includes some 130 lots and offers a varied selection of master American studio artisans.

All images courtesy Freeman’s


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Auction | Art for Change

Friday, August 17th, 2018

Catherine Opie
Surfer for One Drop, 2018
Pigment print.
Estimate $80,000 > 120,000



Art for One Drop
Phillips
New York City | USA
Charity Auction
21 September 2018
7pm EDT / 12 am GMT,
Public Viewing
15 > 21 September



Nate Lowman
Smells Like Water, 2018
Oil on canvas.
Estimate $40,000 > 60,000



Ai Wei Wei
Wave Plate, 2014

Porcelain, from a series
of unique variants.
Estimate $140,000 > 190,000



One Drop founder, Guy Laliberté, who co-founded Cirque du Soleil in 1984, is aiming to transform 200,000 lives via the charity auction Art for One Drop.

‘Art,’ says Laliberté, who has become a major collector and whose wider ambition is to bring positive change to the global water crisis, ‘is very powerful and can be used to change the world in a positive and impactful way.’

The eagerly-awaited sale featuring a diverse selection of specially-created and recent works that Laliberté has persuaded world-renowned contemporary artists, including Ai Weiwei, Gabriel Orozco, Christopher Wool, Jenny Holzer, Olafur Eliasson and Tracey Emin to donate will raise hundreds of thousands of dollars that will be used to provide access to safe water, sanitation and hygiene to vulnerable communities in Latin American.

Nicolas Party, 2018
Sunset

Pastel on canvas.
Estimate $60,000 > 80,000



Olafur Eliasson
Tidal Pool Star, 2018

Coloured glacial-rock-flour
glass (light green),
coloured glass (red, yellow)
and driftwood.
Estimate $40,000 > 60,000



Tracey Emin
I Listen To The Ocean
And All I Hear Is You
, 2018

Neon.
Estimate $150,000 > 200,000



In 2007, moved by the shocking statistic that a child died from a water-borne disease every 8 seconds, Laliberté set up One Drop as a global not-for-profit organisation with a clear objective of delivering long-term impact and sustainability. Over the past decade, it has financed 13 international development projects in the water sector, in the process earning itself world-renowned accolades, including the prestigious UNWater Award for Best Practices and the International Water Association’s Innovation Award.

Collaborating with hundreds of artists across the world, One Drop assists and encourages them to bring about change within their own communities. It is also working with several international and local partners to help enable governments to reach the United Nation’s goal of ensuring access to water and sanitation for all by 2030.

The Art for One Drop charity auction will take place at Phillips in New York, where the works can be viewed in advance but bids can also be placed online.

All images courtesy Phillips, One Drop and the artists


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Art | Bodys Isek Kingelez: Extreme Model World

Friday, May 11th, 2018

Africanisch (detail), 1994
Paper, paperboard, plastic,
various other materials
Private collection
Photo Kleinefenn



Bodys Isek Kingelez:
City Dreams
Museum of Modern Art
New York | USA
26 May 2018 > 1 January 2019



Bodys Isek Kingelez
in Kinshasa, 1990
Photo André Magnin,
courtesy André Magnin



The idea of 21st-century visionaries creating buildings and even whole cities from recycled materials doesn’t seem that strange. In remote Kinshasa however, in 1978, when artist Bodys Isek Kingelez started to make his ‘extreme models’ or ‘extreme maquettes,’ of buildings out of found materials, such as bottle caps, commercial packaging and plastic, the Belgians and French who worked at the National Museum, staggering in confusion and disbelief, accused him of having stolen his technique. Soon after the Museum gave him a job as a restorer and ‘banned’ him from making sculpture.

But Kingelez persevered and although in the early 1980s, he had still never seen any city other than Kinshasa, ‘not even in photos’, the intricately-constructed models he was making began to develop into his vision of a world that he believed could be built and lived in, in the present, or in the future, and represented his hopes of renewal in a de-colonised Africa. ‘I wanted my art to serve the community that is being reborn to create a new world,’ he would say later, his Utopia still to materialise, ‘I created these cities so there would be lasting peace, justice and universal freedom. They will function like small secular states with their own political structure, and will not need policemen or an army.’

Ville de Sète 3009, 2000
Collection Musée International
des Arts Modestes, Sète, France
© Pierre Schwartz ADAGP,
courtesy MIAM



Nippon Tower, 2005
Courtesy Aeroplastics
Contemporary, Brussels
Photo Vincent Everarts



Belle Hollandaise, 1991
Collection Groninger Museum
Photo Marten de Leeuw



Plagued by poverty, mistrust in the country’s banks and a deepening economic crisis Kinshasa, capital of the Democratic Republic of Congo (previously the Belgian Congo, briefly called Zaire), where bumper to bumper traffic clogs the city while the outskirts are without either roads or electricity, has become one of the world’s worst megacities. Perhaps if its authorities and decision-makers had aligned themselves with Kingelez’s way of thinking, things might have turned out somewhat differently. Referring to himself as a designer, an architect, a sculptor, engineer, [and] artist’, he regarded his work as ‘an irrefutable contribution to life and science’, but remained forever conscious that in Africa, art was new and not yet properly understood and that political leaders were wary of it and unable to grasp its importance.

Kinshasa la Belle (detail), 1991
CAAC – The Pigozzi
Collection, Geneva
© Bodys Isek Kingelez
Photo Maurice Aeschimann,
courtesy CAAC



Having been invited to exhibit at Jean Pigozzi’s Contemporary African Art Collection (CAAC) in Paris, by 1989, Bodys Isek Kingelez (b Jean Baptiste, 1948) was catapulted to global acclaim. His work has since been featured in numerous international exhibitions and is included in the private collections of both Pigozzi and Agnes B, among others. In 1992 he began assembling entire cities with numerous buildings, avenues, parks, stadiums and monuments and, when his first large-scale imaginary city, Kimbembele Ihunga – named after the village in which he was born and brought up – was shown there in 1995, Kingelez created an homage to Jean Nouvel, architect of the Fondation Cartier building in Paris.

This month over 30 of the 3000 models Kingelez constructed during the course of his career, which ended with his death in 2015, go on show in Bodys Isek Kingelez: City Dreams at The Museum of Modern Art in New York.

All works by Bodys Isek Kingelez, made from paper, cardboard, plastic and various other materials. All images courtesy MoMA


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Art | Domenico Gnoli: Big Time

Friday, April 27th, 2018

Curl, 1969
Acrylic and sand
on canvas



Domenico Gnoli:
Detail of a Detail

Luxembourg & Dayan
New York City | USA
3 May 14 July 2018



Domenico Gnoli
in his studio,
S’Estaca, Majorca,
October 1969



Handsome, stylish and on the verge of recognition as a major painter due to the success of his first New York show, in 1970, Italian artist, Domenico Gnoli, aged 36, died of cancer.

Soon forgotten, his paintings, for the most part, disappeared into obscure collections. Taschen’s Art of the 20th Century, published in 2000, granted Gnoli little more than a passing mention, however, four decades after his death, visionary fashion figure Miuccia Prada, who had discovered and begun buying up his work, showed some items at the 2011 Venice Biennale and, effectively, brought about his resurrection.

Originally from Rome, where he worked as a theatre set designer, Gnoli had relocated to New York, supporting himself with regular illustration commissions from magazines such as Sports Illustrated and Fortune, while he transformed himself into an artist.

Escarpin vu
de dos
, 1967

Acrylic and sand
on canvas



Scarpa di
fronte
, 1967

Acrylic and sand
on canvas



Characterised by their immediacy and by his precise treatment of their subject matter: everyday items of clothing including shoes, suits, shirts, slippers, household objects, as well as personal details, such as the back of a head or a single ringlet of hair (see top) – always in monumental isolation – Gnoli’s works suggest an anonymous or absent person, and were, apparently, symbolic interpretations of his own feelings about the emptiness and depersonalisation of modern life. Ironically, they could now be seen to symbolise his own short life and truncated career, during which he produced around 145 finished paintings, of which only a few dozen survive.

Chair, 1969
Acrylic and sand
on canvas



His talent notwithstanding, Gnoli’s tragic story, handsome looks and great personal style – not to mention his Prada patronage – guaranteed the success of his second, and posthumous, New York show at Luxembourg & Dayan in 2012, as well as his enduring popularity with the international fashion crowd.

In its new show, Domenico Gnoli: Detail of a Detail, Luxembourg & Dayan is presenting rarely seen works by the artist in an installation designed by opera director Robert Carson.

All works by Domenico Gnoli: images courtesy Luxembourg & Dayan, New York and Artists Rights Society (ARS), New York / SIAE Rome.

All works are from private collections.
Photo courtesy Luxembourg & Dayan


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Photography | Africa Shines Through

Friday, March 30th, 2018

Zarita Zevallos
Imperium 2, 2017
Archival pigment print



Refraction: New Photography
of Africa and its Diaspora
Steven Kasher Gallery
NYC | USA
19 April 2 June 2018



Keyezua
Fortia (1), 2017
Giclée print on
Hanhemühle paper



Crack it. Smash it. Break it up into little pieces and scatter it. Glass will continue to refract rays of light that pass through it. This show sets out to demonstrate how cultural identity – in this case, African – reacts in a similar way.

Often ripped from their roots and transported many thousands of miles, or forced to flee wars and pogroms, Africans have seen their cultural identity subdued and trampled upon but never entirely transmuted.

Shawn Theodore
All I Ever Wanted Was
A Reason To Be
, 2018

Archival pigment print



Nona Faustine
Over Her Dead Body,
Tweed Courthouse,
Brooklyn, NY
, 2013

Archival pigment print



Stan Squirewell
Afrosaxson, 2017
Mixed media collage



Flying in the face of centuries of adversity, recent decades have seen the emergence of a new generation of photographers of African descent, based in many different locations across the globe, including Africa itself, with a rich diversity of approaches, determined to reclaim and to reassert their cultural heritage.

Eyerusalem Adugna Jirenga
The City of Saints VII, 2017
Digital archival print



Rendered entirely contemporary by its use of modern photography techniques, such as performative self-portraiture, collage, montage and digital manipulation, while their work – captured through fine quality glass camera lenses – makes bold references to traditional African values, rites and rituals, it is nevertheless undoubtedly characterised by the refractive process that African cultural identity has passed through.

Refraction: New Photography of Africa and its Diaspora at Steven Kasher Gallery presents the work of photographers born in the 1970s, 80s and 90s, living in Addis Ababa, Luanda, Paris, New York and beyond.

All images courtesy Steven Kasher Gallery, New York


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Photography | 1968: Pop Goes the News

Friday, January 5th, 2018

2 February 1968
Viet Cong guerrilla
executed by
police chief
AP Wirephoto,
Photo Eddie Adams



Day by Day: 1968
Steven Kasher Gallery
New York City | USA
11 January > 24 February 2018



9 February 1968
Elvis and Priscilla
Presley with
their
newborn daughter

United Press
International, Inc



In February 1968 a prisoner, identified as a Vietcong officer, was presented to police chief Nguyen Ngoc Loan, who shot him dead. Eddie Adams’ photograph of the event was voted World Press Photo of the Year and earned him a Pulitzer Prize. The moment of the execution, seen by so many in their newspapers, became the moment Western opinion about the Vietnam war fundamentally shifted.

A leap year, 1968 lasted a day longer than most. But what did another day matter? Brimful with tumultuous events it was one of the most turbulent twelve month periods of the 20th century. New York’s Steven Kasher Gallery is marking its 50th anniversary with an exhibition of vintage black and white news agency photographed – one shot on each of its 366 momentous days. Resembling a series of pop art montages that might have been put together by Richard Hamilton or Andy Warhol, and accompanied by a soundtrack of 1968 pop songs, including bubble-gum and anti-war anthems, the images are arranged in tragic and comic, ironic and histrionic, utopian and dystopian juxtaposition.

The previous year had played host to the summer of love, the first successful human to human heart transplant was performed, the Concorde prototype was shown, Elvis Presley married Priscilla and The Beatles released the Sgt Pepper’s Lonely Heart Club Band album, but Israel’s fiercely fought Six-Day War against Egypt, Jordan, and Syria, anti-Vietnam War protests around the world, as well as race riots in America that destroyed parts of cities, most notably Detroit, were strong indicators of what was to follow.

4 June 1968
Senator Robert F
Kennedy on the floor
of the ambassador
Hotel shortly after

being shot

UPI Telephoto



9 August 1968
Sammy Davis Jr
and Peter
Lawford
in
Salt and Pepper

SP



21 August 1968
A Soviet tank moves
past Wenceslaus
statue in Prague after
USSR’s invasion
of Czechoslovakia

United Press
International, Inc



1968 began with Alexander Dubcek’s election to first secretary of the Czech Communist Party and his initiation of a programme of liberal reforms causing alarm in Moscow. By August Soviet tanks were rolling into Prague to restore Warsaw Pact discipline. Meanwhile, in February, the world got very excited about Elvis and Priscilla becoming parents to Lisa Marie. On April 5, as looters and roving arsonists wreaked havoc on the streets of Washington DC, Martin Luther King Jr was assassinated. Nine weeks later, Senator Robert Kennedy met the same fate. In May student riots had thrown the streets of Paris, which on the 31st teemed with 200,000 workers demonstrating against the government, into violent turmoil. Held in the aftermath, however, the French general election in June was won by Gaullists with 72% of the seats. In Northern Ireland Catholics were demanding equal rights with Protestants and the ensuing civil rights riots ushered in a state of emergency. Released that summer, Salt and Pepper starring Sammy Davis Jr and Peter Lawford as Swinging London nightclub owners was a box office sensation.

October 17, 1968
Tommie C Smith
and
John Carlos give
the
Black Power
salute at the medal
ceremony at the

Olympic Games in
Mexico City
Associated Press



December 28, 1968
The Beatles line
up behind a flag
Stephen Goldblat,
Camera Press London



As the counterculture era began in the US, on-going Civil Rights Movement, Free Speech Movement and Anti-Vietnam War protests flared up in cities such as Chicago and at the University of California’s Berkley campus. In October, two American athletes caused an uproar by giving the Black Power salute during the medal ceremony at the Olympic Games in Mexico City. In November, The Beatles released The Beatles, also known as The White Album – differences over its production and between the group members would lead to the band’s break-up. After nearly 11 months, North Korea, which had captured the US spy ship Pueblo in January, released the 83-man crew in December.

Day by Day: 1968 at Steven Kasher Gallery is displayed in calendar format – each group encompassing the images appertaining to one month of the year.

All images courtesy Steven Kasher Gallery, New York


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Design | Haute-Tech: Brainy, Fashionable Furniture

Friday, December 8th, 2017

Noé Duchaufour-Lawrance,
unique Ammonite shelf, 2012
Two-tone patinated steel.
Executed by Stefano Ronchetti
for Meta, London.
Collection of Hana Soukupová
& Drew Aaron
Estimate $1,000 > 15,000



Important Design
Sotheby’s New York
New York City | USA
Exhibition 9 > 12 December 2017
Sale 13 December 2017



Michel Boyer,
sideboard, c1970
Stainless steel with
mahogany interior.

Estimate $18,000 > 24,000



Confirming fashion’s current infatuation with technology, Dutch designer, Joris Laarman has been described by W Magazine as producing an ‘haute-cerebral brand of futurism’. The 37-year-old’s pioneering work is at the intersection of design, art, and science. His aim is to abolish the traditional distinctions between the decorative and the functional, the natural and the machine-made world. Creators of 3D-printed bridges, tables constructed with the aid of industrial robots, and chairs that can be downloaded from the internet, his company’s work is currently the subject of Joris Laarman Lab: Design in the Digital Age at the Cooper Hewitt, Smithsonian Design Museum, in New York. Sitting alongside rare pieces by an array of international, celebrated 20th and 21st-century artists, architects and designers, Laarman’s Bone armchair, below, produced in 2007, is one of the star lots inspired by technological innovation in Sotheby’s forthcoming design sale.

In the 1960s French designer, Michel Boyer (1935 > 2011), became sought after for his ability to combine glass, steel and rare woods to create functional luxury furniture. He oversaw and designed the interior of Baron Elie de Rothschild’s personal office in the de Rothschild Frères bank’s Paris headquarters, in which his unique sideboard, above, (commissioned 1970) with its machine-like finish, was installed. During the 1970s, Boyer gained a worldwide reputation for prestigious commissions such as the French embassies in Washington DC and in Brazil.

Joris Laarman,
Bone armchair, 2007
Carrara marble powder
and casting resin.
Produced by Joris
Laarman Lab, Amsterdam,
The Netherlands.

Estimate $250,000 > 350,000



Zaha Hadid,
Serif 4 shelf, from the
Seamless series, 2006
Polyurethane-lacquered
polyester resin.
Produced by Established
& Sons, London.
Estimate $15,000 > 20,000



Sculptural and intriguing, the spiraling Ammonite shelf (2012), top, inspired by technology as much as by nature, is by contemporary furniture and interior designer, and author, Noé Duchaufour-Lawrance (b 1974), also French, whose career took off in 2002 after he served as artistic director for the London restaurant Sketch. Noé Duchaufour-Lawrance’s recent projects have included a private dining room for Chateau d’Yquem in the Parisian hotel, Le Meurice; he has designed a candelabra for Baccarat, as well as a scent bottle in the shape of a gold bar for Paco Rabanne. In collaboration with Brand Image, he created the visual and architectural identity of the Air France business class lounges and has developed retail concepts for clients, such as Yves Saint Laurent. Noé Duchaufour-Lawrance furniture creations include, among others, the Corvo and Chiara chairs for American brand Bernhardt Design, and various products for Ligne Roset.

Mathieu Mategot,
magazine rack, circa 1955
Lacquered metal.
Collection of Hana
Soukupová & Drew Aaron
Estimate $2,000 > 3,000



Hungarian, Mathieu Matégot, (1919 > 2001), having spent time in America and Italy, settled in Paris in 1931 and began working as a set designer for the Folies Bergère and window-dresser for the Galerie Lafayette department store, where he also created dresses and tapestries. Prior to the outbreak of World War II, Matégot became involved in furniture design. Exploring a variety of materials, including metal, glass, Formica, wood, textiles, and leather, he would later become famous for innovative furniture and accessories incorporating metal tubing and perforated sheet metal, such as the magazine rack, above.

Uncompromising and elegant – although at first sight its function may only be guessed at – the limited edition, Serif 4 shelf (2006), above, by Pritzker Prize- and Sterling prize-winner, Iraqi-British architect, Zaha Hadid (1950 > 2016), who had been practising her own haute-cerebral brand of futurism since the 1980s, is also included in Important Design at Sotheby’s New York. The sale features a total of 165 items, many of which derive from renowned, international collections.

All images courtesy Sotheby’s


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The Blog’s publishers insist that all images supplied for publication in our posts are cleared for that use before being made available to us. Whether pictures are sent to us as email attachments or made available as downloadable files, any responsibility for fees that may, under any circumstances whatsoever, fall due, must be borne by the source supplier


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Auction | One Man’s Vicarious Visions of America

Friday, December 1st, 2017

Elizabeth Heyert (1951 >)
Death portraits, from
the series ‘The Travelers’ 6

£2300 > 3800
$3000 > 5000



The Producer’s Pix
Photographs from the
Collection
of Bruce Berman
Bonhams
Los Angeles | California | USA
Exhibition 9 December > 14 December
Sale 14 December 2017



Manuel Alvarez Bravo
(1902 > 2002)
La Operacion Hospital,
Juarez, Mexico

£1500 > 2300
$2000 > 3000



Presumed Innocent, New Jack City, The Client, GoodFellas, Robin Hood: Prince of Thieves, Malcolm X, The Bodyguard, JFK, The Matrix trilogy, Ocean’s Eleven, Mystic River, Charlie and the Chocolate Factory, and The Logo Movie are just a few of more than 100 major Hollywood films that Bruce Berman has been passionately involved in producing since 1984. Berman also has another passion: photography.

Steven Soderbergh, who directed some of those movies, was asked to write an introduction to the catalogue for this forthcoming sale of a portion of Berman’s collection of photographs. In it he explains that a great photograph is a story. A great collection also tells a story about its collector.

William Christenberry
(1936 >)
House in Summertime,
Greensboro, Alabama

£1500 > 2300
$2000 > 3000



Andrew Moore
(1957 >)
War of 1812 Mural,
Building 125, Governors
Island, New York

£3000 > 4500
$4000 > 6000



Berman’s advice to someone who wants to start a collection is ‘to go with what strikes them, with whatever hits that button in them.’ His own taste in photography was formed by his early experiences. Having been given a Kodak Brownie camera for his eighth birthday, he immediately began taking pictures. In his teens he graduated to an SLR and while at college – inspired by Jack Kerouac’s On The Road novel – made epic road trips across America, stopping at the roadside to photograph whatever caught his eye.

Christian Patterson
(1972 >)
No Nothing, from
‘RedHeaded Peckerwood’

£600 > 900
$800 > 1200



As his career progressed, he began buying work he liked by photographers such as Diane Arbus and William Eggleston. And when, in 1988, after a decade in the film business, he was earning enough to pay photographers to travel around the country producing their own work on his behalf, he dispatched them to the Midwest, to Minnesota and Wisconsin, or to the South. Revelling in his vicarious wanderings and describing himself as ‘totally addicted’ to collecting, by 2007, Berman, aided by his wife, Nancy, had amassed 2,600 photos. He donated many to the Getty Center in Los Angeles, which that year mounted the exhibition, Where We Live: Photographs of America from the Berman Collection. By focussing on one particular genre, and, via his commissioning and discovery of new talent, having made a direct contribution to the formulation of the genre itself, Bruce Berman had justly earned a place in the history of American photography.

The film mogul currently owns a mere 700 prints. Having accepted that he is now at a different phase in his life, he says that he no longer gets sad when he sells or donates his a photographs.

Dorothea Lange
(1895-1965)
Funeral Cortege,
End of an Era in a
Small Valley Town

£11000 > 19000
$15000 > 25000



Sheron Rupp
(1943 >)
Shawnee; and Utica, Ohio 2
£750 > 1100
$1000 > 1500



Elsewhere in the catalogue, The Getty’s Judith Keller and Anna Lacoste describe Berman’s personal collection as ‘an archive of late twentieth-century American life’. If one presumes that the images being offered in this auction are a representative selection from the work he accumulated, it might be fair to conclude, however, that in avoiding extremes – of poverty, of wealth, of depravity, of political, environmental, racial, and sexual issues – despite the pioneering spirit on which it was founded and pursued, the richness and quality of its content and Berman’s enthusiasm for photography, his story of life in the USA during the period in which these photographs were created is a fascinating, offbeat, but ultimately sentimental and nostalgic journey.

The Producer’s Pix: Photographs from the Collection of Bruce Berman at Bonhams includes 170 lots by, among others, Stephen Shore, whose work is the subject of a major retrospective currently on show at MoMA in New York.

All images courtesy Bonhams


Tell us what you think
The Blog is about art, architecture, books, design, gardens and anything else that currently interests us that we think might interest you

The Blog’s publishers insist that all images supplied for publication in our posts are cleared for that use before being made available to us. Whether pictures are sent to us as email attachments or made available as downloadable files, any responsibility for fees that may, under any circumstances whatsoever, fall due, must be borne by the source supplier


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