LOOKING AT LE CORBUSIER IN PARIS
—by Claudia Barbieri
Images courtesy of Centre Pompidou/©FLC, ADAGP, 2015
Charles-Édouard Jeanneret, aka Le Corbusier, changed the face of twentieth-century architecture and urban planning. To mark the fiftieth anniversary of his death in 1965 the Centre Pompidou in Paris has mounted a retrospective of his work, on view through August 3. In parallel, two Left Bank Parisian art galleries, Eric Mouchet and Zlotowski, are putting on commemorative shows of their own, running through, respectively, June 13 and July 25. Continue reading→
ANIMALS AND GEOMETRIES
This year’s edition of Design Miami/Basel, the second year under the auspices of new director Rodman Primack, appeared more defined and mature than previous fairs. Elegant, as always, but with a clearer focus. The show ran from June 17 through 22 in a two-year-old exhibition hall just across the Messeplatz from Art Basel.
Metal Low Chair, 2014, by Aranda/Lasch at Gallery ALL (Design Miami Basel)
—by Jenny Florence
Jørn Utzon’s relative obscurity is an enigma. Here was a Pritzker Prize-winning architect who designed one of the world’s most iconic buildings, the Sydney Opera House, a UNESCO World Heritage Site recognizable even to children (and those not in the business of caring about architecture). Here was also a roving creative who traveled the world to meet and occasionally collaborate with some of the twentieth century’s most celebrated architects and designers, including Arne Jacobsen, Charles and Ray Eames, Alvar Aalto, and Le Corbusier. Finally, here was a prolific collector who not only acquired artworks by Fernand Léger, Georges Braque, and Pablo Picasso, among others, but purchased many directly from the artists. And yet, mention of Utzon’s name might elicit only a polite “gesundheit.” Continue reading→
AN EXHIBITION AT CRANBROOK EXPLORES HARRY BERTOIA’S JEWELRY
AND THE FORGING OF HIS CAREER
By Elizabeth Hamilton
Ornamental centipede in brass, c. 1942.
A WRITHING CENTIPEDE WROUGHT in hammered brass and a gold necklace evoking the decayed, wilted sepals of a plant are among the jewelry designs on view in the Cranbrook Art Museum’s exhibition Bent, Cast, and Forged: The Jewelry of Harry Bertoia. To celebrate the centennial of the artist’s birth, the institution has organized the first museum exhibition devoted exclusively to his jewelry.
Women in Art, Craft, and Design, Midcentury and Today
By Jennifer Scanlan
Vivian Beer in her studio at work on Anchored Candy, 2014.
AN ICONIC PHOTO OF FIVE OF THE MOST FAMOUS DESIGNERS of the post-World War II era appeared in Playboy in July 1962; it featured George Nelson, Edward Wormley, Eero Saarinen, Harry Bertoia, Charles Eames, and Jens Risom near furniture of their own creation. The image speaks volumes about the ways in which modern design has been portrayed in popular culture and often even in museum exhibitions and history books: designers are all men, and design means furniture.
For Pathmakers: Women in Art, Craft, and Design, Midcentury and Today, an exhibition for the Museum of Arts and Design (MAD) in New York City, my co-curator Ezra Shales and I decided to investigate and celebrate the areas in which women played important, if unsung, roles during this period. Given MAD’s historic focus on craft, we looked particularly at the ways in which the resurgence of interest in craft after World War II opened doors for women to become professional artists, designers, and teachers.
Out of the Ordinary | Summer 2015
— Beth Dunlop
LIFE IS FULL OF LESSONS. One of my closest friends over the years was an art critic who could find something to admire almost everywhere she went. Her world was populated, of course, by beautiful paintings, but she could elevate so many other objects and things—a soup can, a wrapped present, thrift-shop tea towels, a pair of shoes—into works of art because she saw them for their design and for their possibilities. Others of us would have left the grocery store without that particular can of tomatoes because we hadn’t stopped long enough to admire its label. We would not have looked closely enough to see that what appeared to be plain brown wrapping paper actually had a faint microscopic pattern that came out once you added a ribbon. In my bathroom are three small hand towels she gave me that are, most likely, mid-century English (not sure because she pulled them out of a bin at a flea market). Continue reading→
A panel of editors turned their gimlet eyes on this year’s ICFF to select a few winning designs from among the thousands on view. Here are the winners of the ICFF Editors’ Awards in each category.
Best Seating: Hui Ling Cheng for the Tui Chair (a 2015 ICFF Studio finalist)
By EVAN LOBEL
Anzolo Fuga (1914–1998) on the occasion of an award from the Venetian Chamber of Commerce in 1987.
ANZOLO FUGA, BORN IN 1914, came from one of Murano’s oldest and most distinguished glassblowing lineages, dating back to the Middle Ages. His father, Emilio Fuga, was director of the Cristalleria di Venezia e Murano, which made French-style crystals that were ground or decorated with acid. His mother, Adelaide Barovier, was the daughter of Giuseppe Barovier, an important and talented glass master who worked on Murano in the late nineteenth and early twentieth centuries. Anzolo, his name the Muranese version of Angelo, was named after his paternal grandfather, who had revived the art of copper-wheel engraving and the making of decorated mirrors in the second half of the nineteenth century. Continue reading→
— by Cynthia Drayton
The Hermès en lumiére collection is the latest addition to the French luxury brand’s home décor line, Hermès Maison. The collection is comprised of three new lamps: the Nomade, the Pantographe, and the Harnais. Each lamp has LED technology and is sheathed in Hermès’s famously elegant leather enhanced by saddle stitching, tacks, and clasps. The source for the leather covering came from the lamps that equipped the company’s workshops in the 1930s. The leather protected the lamp bases, provided durability, and ensured that the lamps would be handed down to the next generation of craftsmen. These goals continue to be achieved with the introduction of Hermès’s three new lamps.
Every year in May designers descend on New York and for a couple weeks the city abounds with exhibitions, installations and pop-up shops, panel discussions and talks, previews and parties. In 2011 WantedDesign joined the fray, bringing the best homegrown and international design to Chelsea’s Terminal Warehouse, and this year it whips up even more activity with a second location, WantedDesign Brooklyn in Sunset Park’s Industry City, a hub of creative production.
At both locations, amid the maelstrom of business cards and air kisses, the tote bags, spec sheets, hashtags and “likes”, are original ideas, offbeat products, and innovative takes. Here are some of the booths we’ll be sure to visit at this year’s fair.