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Introduction “Subversive, ethical, ecological, political, humorous… this is how I see my duty as a designer.” Philippe Starck A career rich with 10,000 creations - completed or yet to come - global fame and tireless protean inventiveness should never overshadow the essential, Philippe Starck has a mission, a vision: that creation, whatever form it takes, must improve the lives of as many people as possible.
Starck vehemently believes this poetic and political, rebellious and benevolent, pragmatic and subversive duty should be shared by everyone. He sums it up with the humour that’s set him apart from the very beginning: “No one has to be a genius, but everyone has to participate.” In the eyes of this accomplished citizen of the world, sharing his ethical and humanist vision of a more equal planet is a duty, if not a moral imperative, that results in unconventional projects, bearing fertile surprises.
It’s easy to guess his course of action: an object must be useful before being beautiful. His prophetic awareness of ecological implications, his deep understanding of contemporary mutations, his enthusiasm for imagining new lifestyles, his determination to change the world, his commitment to sustainable de-growth, his love of ideas, his concern with defending the intelligence of usefulness – and the usefulness of intelligence – have taken him from iconic creation to iconic creation.
.. From everyday products like furniture and lemon squeezers to revolutionary mega-yachts, intensely vibrant, stimulating and phantasmagorical hotels and the miraculous technologies of individual wind turbines and the electric car, he never stops pushing the limits and criteria of contemporary design. It’s as a true visionary that he puts this art of innovation to the service of a design and democratic ecology, action-driven and respectful to both human and nature’s heritage, whether it’s with the Elise recycling bin or the Zartan, the first entirely recycled roto-moulded chair.
The affordable and adjustable P.A.T.H. houses – high-tech pre-fab habitations – recently attested to the durability of an approach that he initiated in 1994 with the prefab house on sale in the 3 Suisses catalogue. Heralding the phenomena of convergence and dematerialisation, Philippe Starck aims straight for the heart, highlighting the essential, extracting the structural minimum of every object, in order to offer creations and propositions closest to Man and Nature, best adapted to the future.
Just look at the mega-yacht A, symbol of minimalist elegance, or the Zik earphones for Parrot. He dreams of solutions so vital that he was the first French man to be invited to the TED conferences (Technology, Entertainment & Design) alongside renowned participants including Bill Clinton and Richard Branson. Inventor, creator, architect, designer, artistic director, Philippe Starck is certainly all of the above, but more than anything he is an honest man directly descended from the Renaissance artists.
A Childhood of Art “My father was an aeronautical engineer. For me, that made invention a duty”. Philippe Starck Philippe Starck was born in 1949. From a childhood spent beneath the drawing tables of his airplane building, aeronautic engineer father, he retained a primary lesson: everything should be organised elegantly and rigorously, in human relationships as much as in the concluding vision that presides over every creative gesture.
He’s convinced it’s this philosophy that allows for creativity beneficial to all and he works with unrelenting enthusiasm on even the tiniest detail. Years later has he really left that first improvised office? According to him, not entirely. “Ultimately it was child’s play, imaginative games, but thanks to various skills, especially engineering, something happened. I’m a kid who dreams and I’ve got that simultaneous light-heartedness and gravity of children.
I fully accept the rebellion, the subversion and the humour.” Laughingly he completes this admission: “There is no work in my life! There’s only playing, curiosity, generosity and vision.” He was a listless student at the Ecole Nissim de Camondo in Paris, but in 1969 Starck designed an inflatable structure, based on the idea of materiality, reflecting his early interest in living spaces. This revelation bought his first success at the Salon de l’Enfance.
Not long afterwards, Pierre Cardin, seduced by the iconoclastic design, offered him the job of artistic director at his publishing house. In 1976, after the creation of several emblematic objects including a floating lamp and a portable neon sign, this intrepid dreamer designed an audacious decor for the night club, La Main Bleue - in Montreuil – demonstrating that no venue is less respectable than another just because of its eccentricity.
He went on to complete the legendary Parisian nightclub Les Bains Douches and the Starck Club in Dallas. At the same time he founded his first industrial design company, Starck Product, which he later renamed Ubik after the famous Philip K. Dick novel. Here he initiated his collaborations with the biggest design manufacturers in Italy - Driade, Alessi, Kartell - and the world – Drimmer in Austria, Vitra in Switzerland and Disform in Spain, to mention but a few.
In 1983 Philippe Starck was discovered by the general public when, on the advice of Culture Minister Jack Lang, President François Mitterrand chose his project to decorate the private residence at the Elysée Palace. It symbolised an institutional recognition of design. The following year his international fame was confirmed thanks to the success of the Café Costes, a new venue that was both functional and elegant, that contained all the essence of Starck architecture while converging with the birth and blossoming of a community.
His reinvention of the codes of the Parisian cafe made it the cafe par excellence. An Ethical Approach To Space “If there is no vision, humane, social or loving, a project doesn’t have the legitimacy to exist.” Philippe Starck The emergence of a new space, restaurant, bar or hotel is always an occasion for Philippe Starck to consider the meaning of creation in depth: the sense of a space within its environment, the sense and sentiment of a place for the tribes who inhabit it, the sense of a project, regardless of its size, within human evolution.
Creation cannot be vain or gratuitous. It involves an increasing awareness of its implication for Mankind and his environment and a responsibility for the future. “Deserving to exist is part of the notion of work […]. Everyone should bring something – if it’s not a mountain, then a rock, a stone or a grain of sand,” summarises Philippe Starck. This modest approach is marked by the ambition of a dreamer who firmly believes in the possibility of finding solutions to contemporary issues.
And yet Philippe Starck refuses to impose his solutions. They unfold like stories available to those who want to listen: “My job is like that of a film director. I tell stories and offer the public the most complete spiritual notion possible of the spaces they visit. Public spaces are above all about emotions and experiences.” Because at the heart of all Starck’s projects lies the commitment to humanity and through the creation of spaces the will to generate powerful emotions, ensuring that on entering these buildings, everyone discovers what they are looking for and more; “a place to go because it’s too cold outside, because they’re hungry, because they’re thirsty, because they want to have fun.
” Exterior Architecture And Living Spaces Although he considers himself no more an architect than designer, in the early 1980s Philippe Starck designed several buildings in Japan, with forms previously unseen. The first was in Tokyo, completed in 1989, and is striking in its originality. Nani Nani was an impressive anthropomorphic building covered with living material which evolves with time. The structure was born from the powerful conviction that creation must invest in an environment without destabilising it while maintaining the greatest respect for its context.
Like all of his work Starck’s architecture is virulently and explicitly both ethical and humanist. A year later he confirmed his status as leader of avant-gardist architecture with the Asahi Beer Hall in Tokyo and then an ensemble of offices in Osaka, known as the Baron Vert, in 1992. A pioneer of impressionist reasoning bursting with relentless enthusiasm, he made buildings that even when dedicated to work reclaimed life in all its continuous exuberance.
In France he was commissioned to design the control tower at Bordeaux’s airport (1997) and the extension of the Ecole Nationale Supérieure des Arts Décoratifs in Paris (1998). Jean Paul Gaultier entrusted the designer’s imagination to transform his boutiques in Paris, London and New York. With the Yoo building project, initiated in London in 2001 along with building magnate John Hitchcox, Philippe Starck ignored “signature” housing conventions, by offering apartments with modern configurations, in line with the expectations of tribe members.
The perfect culmination of a lifetime of research and vision, Yoo today has more than 50 projects spread over 27 countries – from Asia and Australia to America, Europe and the Middle East – with new constructions recently announced for Ecuador and Mexico. In Rio de Janeiro, 2007, Philippe Starck conceived the interior architecture and decoration of the Faena Hotel, as well as the exterior and interior architecture of the Fasano, an eight-story on the seafront.
This hotel is a discreet, humble and sincere tribute to the Brazilian designers of the 1950s and 1960s, who’d been so innovative in their approach to the environment. Through his elegant use of wood, glass and marble, Starck succeeds in recreating the sophisticated and relaxed spirit of the city within this magical venue while offering a spectacular panorama over the sea. Philippe Starck also shows genuine commitment to public spaces where he hopes to establish a humane community determined to strive for change.
“I’m carried along by a major theme: the adventure of our human species, governed mainly by intelligence.” It’s time to remember that living together also means living in harmony. This thought was made reality in 2012 in Bilbao when he completed Alhondiga, a cultural centre spreading over nearly 30,000m2: “This project incorporates the crystallisation of life”, the designer explains. “We preserved the 1909 façade along with all walls, nearly 10 meters thick.
And it is precisely within these walls that the history of the building unravels. Very few other spaces in the world offer so many activities in one place: you can work here, eat, drink, see an exhibition, do sports or read. I like this idea of communion, the intermingling of activities, while remaining very practical. It provides surprisingly magical moments that are even more astonishing because it’s such a unique experience.
Passers-by can see it all happening through the windows. I’m devoted to putting life on show.” 2010 was a key date in the world of sea adventurers, as this die-hard boat lover - “I can’t live without the sea” – unveiled his project in Port Adriano in Majorca. There he offered an entirely new conception of urbanism, blurring the boundaries between port and the boats, the sea and the land.
Through the creation of an underground parking lot, the site’s beauty remains intact while access to the spaces is facilitated. He stuck firmly to his beliefs about invisibility and dematerialisation, “The architecture is almost invisible,” he explains, “You only notice it when you look a second time.” And because he’s placed man and nature at the centre of the project, thus fully respecting environmental standards, the reduction of CO2 emissions has been made a priority.
Through this project, with his crystal clear view on our society, he perpetuates a responsible approach to creation: “We are the prisoners of a “throw-away” society. The only way to escape is to create sustainable design,” he affirmed on this occasion. On the site of an old structure at the entrance to the Saint Ouen Flea Market on the outskirts of Paris, a large building in brick, concrete panels and zinc was constructed in 2012.
With the external architecture of the restaurant Ma Cocotte, Philippe Starck pays tribute to the typical buildings of the neighbourhood and its inhabitants, a kingdom of market traders whose authenticity and effervescence has long fascinated him. It’s a lifestyle he has endeavoured to reproduce with this comfortable and welcoming place. This honest architectural vision, cultivated within the rules of art, favouring life in all its forms will organically continue to develop elsewhere over the next few years.
Le Nuage, which saw the light of day in 2014 in Montpellier, has established itself as a poetic destination, a vertical village, conducive to the socialising of all tribes, complete with cultural, sporting and relaxing activities. Enveloped with a transparent membrane in polymer known as ETFE, this is the first inflatable private building to be made in Europe. With the P.A.T.H. (Prefabricated Accessible Technological Homes) project, available since October 2014, Philippe Starck offers a new take on individual, hi-tech pre-fabricated houses destined for as many people as possible.
On the other side of the ocean the Matarazzo Hospital in Sao Paolo is one of the city’s few historical monuments to have been preserved. Eclectic, bustling and full of determined energy in 2016 it will be endowed with a new cultural and polymorphous life. It will be home to a hotel, exhibition halls, theatres and cinemas, metamorphosing into an indispensable epicentre of creativity. The architectural ensemble has been restored with the utmost respect for its historic heritage.
It will be surrounded by a park with covered stalls selling the work of local craftsmen and artisans. This project shows Philippe Starck’s profound belief in the power of rehabilitation of space by culture and his sustained will to create venues that improve “living together”. The Château des Carmes Haut-Brion domaine goes back to the 16th century: while its prestige is clearly timeless, its new owners, the Pichet Group, wanted to project it into the future.
Thus 2016 will see the inauguration of its new winery designed by Phillippe Starck to resemble a raw blade, minimalist and elegant, perfectly integrated into its surroundings, naturally embodying “the evocation, intuition and reflection” of a great vineyard. This ethical approach, for everyone, from the architecture of buildings, public spaces and the multifunctional modular urban furniture (for JC Decaux), realised in absolute symbiosis with its human and topographical context, to his numerous interior projects for restaurants and hotels, is expressed in a truly global manner.
Hotels Ever since his first creations, Philippe Starck hasn’t stopped revolutionising the codes of the hotel world. From the 1980s onwards he made his mark on the hotel industry and those years saw a flamboyant revolution. Along with Ian Schrager, Starck offered a new approach and new codes to hotel conception starting with the Royalton in New York. The experience continued with the Delano in Miami in 1995, followed by the Mondrian in Los Angeles and then London saw the arrival of Saint Martin’s Lane in 1999 and the Sanderson in 2000 while New York welcomed the Hudson in 1999 and the Clift in San Francisco in 2001.
While most of his hotels have taken other paths (Royalton, Mondrian, Delano, Sanderson and St Martins), Phillipe Starck has none the less made his mark on hotel design with these original creations. Every project is a destination that generates emotions and experiences. The hotels are no longer venues of fleeting impersonal passage but living spaces distilled with friendly, fun signs and fertile surprises.
Under the impetus of Philippe Starck they’re transformed into theatres where everyone acts out their own destiny. In 2005 the Faena Hotel in Buenos Aires, having opened the previous year, was named best hotel of the year by the magazine Wallpaper* and complimented by Conde Naste Traveller for its atmosphere and design. The 2000’s gave rise to another revolution in the hotel industry. The SLS Beverly Hills (2007) was Starck’s first real hotel resort in North America.
It has the unique concept of a double entrance, where one is for the exclusive use of the clientele and the other for the general public, opening into what is known as the Bazaar. “People know that when they stop by there’ll always be something to discover, someone to meet, it’s like a constantly bubbling of energy. It has something of the village square about it.” Starck resumes. This collaboration with the hotel chain belonging to the visionary entrepreneur Sam Nazarian continues today: new SLS hotels have opened with the same success in South Beach Miami (2012), with other versions on the horizon in New York, Miami Brickell (2016) as well as Philadelphia and Seattle (2017).
“The SLS South Beach Miami doesn’t have a particular style; we worked hard to achieve that. It’s a sophisticated cocktail of poetry, surrealism, fertile surprises, tenderness, unexpected sculptures in the Japanese restaurant, elegance in a Milanese bar, Jose Andres’ unusual blend of Spanish and Chinese cooking and my grandmother’s dining room. Wherever you look you’ll be surprised and you can imagine your own dream, your own life.
Wherever you go you can feel the humanity of Sam and my craziness,” explains Philippe Starck, artistic director of the entire hotel chain. Since the opening of the SLS Beverly Hills, more than 60 accolades from Conde Naste Traveller, Wallpaper*, the New York Times, the Los Angeles Times have been showered upon the SLS hotels. Starck is revolutionary in his refusal of an exclusive approach. From the 1990s onwards Starck committed himself to another revolution, that of the democratisation of quality, designer hotels.
The Paramount in New York offering rooms for $100 came first and it has since become a classic of the genre. This human-centric approach has led Philippe Starck to develop projects that contribute essentially to the process of democracy of the hotel industry. “The only desirable revolution is a social and economic revolution: offer the best quality to people for whom money is not the point. It is without a doubt the most interesting future and creative territory to develop,” summarises the designer.
In 2008 he applied this generous, humanist idea to Paris in the design of the Mama Shelter. This hotel bears witness to the new social values of an open minded cultural tribe founded on rigour, honesty, humour, intelligence and sharing. On its origins, he explains, “We wanted to bring a democratic dream to fruition... give the best to the most people possible while drawing from the newest ideas and the energy of the young.
” Born from a philosophical and political desire this establishment in its neglected urban yet buzzing landscape, accompanies the most inventive, most determined aspects of the future. Its pertinence and audacity of vision sees the Mama Shelter regularly featured in the most prestigious international publications (50 Best Hotels in Europe by the Sydney Morning Herald, Die 100 Besten Hotels in Europa by Geosaison Award, 8 Best Hotels in France by Frommer).
Starck’s dreams are devoted to sowing their seeds far and wide: after Paris, the Mama Shelter took root in Marseille in 2012 quickly followed by Lyon and Bordeaux in 2013. Conscious that the hotelier business must reflect the movements and flux of the world and its ideas, in 2008 he started reinterpreting the codes of Parisian luxury hotels with vigour and fantasy, adding a dash of poetic and surreal folly to the oldest five-star hotel in the French capital, Le Meurice.
He added new notes to his score in 2016 with the introduction of yet more mystery and humanity to the palace spaces. He applied his artistic direction once again in 2010 to the Royal Monceau, where he wrote a fantastical and previously unseen script where every room is imbued with the cultural energy of an imaginary occupant. Philippe Starck broke with custom and thrust the heritage of a luxury hotel embodying Parisian heritage into another timeless, whimsical dimension.
“For me, the Royal Monceau was an opportunity to explore the nature of French identity and to reinvent it. To rediscover this rebellious and subversive spirit that manages simultaneously to be very elegant, detached and noble.” The Royal Monceau has become the refuge of the honest man, interested in the cultivation of mind and body as witnessed by the installation of the Spa My Blend by Clarins (2011).
In 2011 La Co(o)rniche (2011), Starck proposed a “a cabin on the water”, a “venue as strong, as beautiful, as poetic, as surreal and as powerful as nature itself.” Suspended between sky and sea, between sand and pine trees, this hotel and restaurant preserves the authenticity of a basque house while overlooking the Bay of Arcachon, paying tribute to the sparkling and generous people who live there.
And then in July 2015, the Café Ha(a)ïtza opened its doors in Pyla-sur-Mer. But this was less a step and more a prologue to the 2016 opening of the eponymous hotel with its open spaces, central bars and tables d’hôtes. This emblematic venue in the Bay of Arcachon, a landscape so dear to Philippe Starck, will rediscover its life and panache of former times in summer 2016. Restaurants Philippe Starck understood long ago that a venue or a space cannot exist without a story – a heritage rich in sense – that remains timeless and universal.
Because for Philippe Starck, telling a story is consubstantial with the creative process: the meaning nourishes the form. Always different, his scenarios provide a link with those who create the soul of a place, by respecting an approach intimately articulated around subversion, humour, creativity and poetry (among others). As a prolific and optimistic director he broaches each living space like a theatre piece where a story unravels and where every person becomes an actor, creating a kind of drama sprinkled with surreal acts, which he calls “fertile surprises”.
Whatever the project, Starck enjoys highlighting its singular pulse, its special vibration, to create a venue in harmony with its environment while lighting its romantic flame. One iconic venue has followed another in the biggest cities around the globe with the Teatron restaurant in Mexico (1985), then the Teatriz in Madrid (1988), the Felix restaurant in Hong Kong (1994), and in Paris the Palais de Cristal for the Maison Baccarat (2004) and its restaurant the Cristal Room Baccarat, the restaurants Bon I (2000) and Bon II (2002) dedicated to organic and healthy eating, and for the US the eponymous Katsuya chain arrived in Los Angeles in 2006.
All of these venues have come alive under his direction. The same year Philippe Starck opened the Mori Venice Bar, a venue that has allowed him to share his passion for a fanciful Venice and its elegant gastronomy. Ever loyal to this love, he refurbished the space in 2010. In 2006 he unveiled an equally subversive and Manichaean vision of the world with the Bon restaurant in Moscow. In Beijing he concocted a theatrical extravaganza for the 6000 m2 restaurant Lan, opened in 2007, where the abundance of objects and materials as well as the miscellanea of styles transport the diner on a surreal journey.
Starck never stops thinking about the venues, giving them meaning. He made his mark in Paris once again with the interior design of the Paradis du Fruit (2009) with a simple idea, “at the Paradis, with fruit everywhere, men are no longer just men, they are angels, genius, artists”. Philippe Starck’s creations echo his deep respect for the relationship between man and his environment. Starck invites this familiar luxury to celebrate a harmonious life at A’Trego (2011) on the banks of the Mediterranean, and the Monegasque border.
A simple “fisherman’s hut” this new venue is imbued with a sense of voyage while enjoying the birth of a new art of living. More than just an architectural gesture Philippe Starck designs living spaces conducive to creativity, to be shared between friends and family, just like Ma Cocotte (2012), the new restaurant in the heart of the famous Saint Ouen Flea Market, a place that means so much to Philippe Starck.
“Ma Cocotte is like a giant 1000m2 bowl. The architecture and the décor have no importance, but it’s a space you dream of when you trawl the markets.” Unsurprisingly this new Starck-imagined building has already been perfectly integrated into its environment. The discreet gestures from which it’s been conceived, like his bronze sculptures cast in concrete, and the surprising combination of disparate images succeeds in capturing the spirit of the flea market, humble and incredibly inventive, bursting with life and marvellously timeless.
In February 2013 Philippe Starck unveiled the new Alain Ducasse restaurant, Idam, at the Doha Museum of Islamic Art. The décor, both spectacular and elegant, created by Starck maintains a precious balance between modernity and classicism. The space is constructed like bridges between culture and life, celebrating the rite of the meal between family and friends. With the opening of a new Parisian restaurant, Miss KÔ, Philippe Starck has once again demonstrated this intense desire to encourage sharing, to make life intensely richer.
“Miss KÔ” he explains, “Is one of the riskiest adventures in the world of hospitality because it is totally phantasmagorical, a sort of crazy evocation of a street somewhere in Asia. It’s like a street out of Blade Runner, with a concrete wall and Formica chairs, TV screens streaming live news direct from Asia, a steaming, bustling kitchen.” Miss KÔ is a freestyle venue that Philippe Starck has imagined as a living space in a state of constant reinvention, generating links between cooking and all forms of creativity.
“It’s one of my visions of what the world will be like,” Philippe Starck confides, “A melting pot, a mixture of all civilisations, all ethnicities, all the ways of eating, of doing.” In September 2014 the Caffè Stern opened its doors in the historical Paris arcade, the Passage des Panoramas. A genuine bacaro, an Italian pause in the Parisian effervescence, an authentic and welcoming Venetian café, run by the Alajmo brothers, masters of La Serenissima cooking, it invites us, in the words of Philippe Starck, “on a journey back in time, history, culture and incites creativity and excellence.
” This bubble of fantasy, “layers on the magic, poetry, surrealism and of course the food.” In spring 2016 Starck along with Fabienne and Philippe Amzalak opened, beneath the canopy of the Forum des Halles in Paris, an urban and literary café: ZA. In tune with the renovation of this neighbourhood, perfectly adapted to the newly connected urban lifestyle, the café ZA simultaneously offers simple and healthy French cooking ordered via smartphone, the chance to discover the latest innovations in the world of furniture, to read a book and even print it instantly in situ.
A common thread effortlessly pulls these 170 plus architectural projects together as well as those in the pipeline (a medical reception and research centre, two new hotels in Paris, hotel complexes in Singapore, New York, Philadelphia and Seattle). Reaching the four corners of the world, Philippe Starck’s viscerally human and farsighted visions conceive these venues by illustrating scenarios that invite his tribe to rise above the ordinary to explore imaginary and creative worlds.
Design, A Poetic And Political Commitment “Whether it’s a toothbrush, an airplane or a chair, it’s always the same philosophy: to think about what the user will gain.” Philippe Starck What is humanity lacking? Certainly not more objects… Because he is acutely aware of this and because he places the individual at the centre of his work, thinking solely of the user’s benefits, Philippe Starck likes saying he wasn’t born to make tables and lamps, but that the first stroke of his pencil is his only tool – weapon even – to express and introduce original alternatives into our daily routines.
“The necessity of all jobs should be questioned,” the designer explains, “Design surely hopes to improve life, but it can’t save lives. The only thing design can do is earn the right to survive, at least move in more humanist directions.” Design exists for Philippe Starck solely through its militant and political status, in other words through its capacity to be useful, to help, even modestly, people’s lives.
His designs aim to serve more than the object; they aim to offer the best possible service while using the minimum of materials. This is powerfully demonstrated with the first ever Ideas Box, deployed in January 2014 in the Great Lakes region of Burundi. The Ideas Box, a portable multi-media library created by Philippe Starck for Libraries without Borders, offers populations exposed to humanitarian crises access to the Internet, books, various teaching aids, not to mention theatre and film.
It thus contributes to giving individuals and communities the possibility to reconstruct what they have lost because “when all else has been lost, all we have left is the ability to dream”. Since then the principal of the Ideas Box has been successfully rolled out in more than 11 countries. Democratic Design And Daily Objects From the beginning his designs were never intended for the elite, but for society as a whole.
He longs for democratic design, and proffers an illuminating definition: “Improving the quality while striving to make it accessible to the greatest number of people, at affordable prices.” He believes that sincere, modern elegance comes from the multiplication of an object, as opposed to the ideology of limited editions, where premeditation on rarity leads to a selection through money rather than necessity.
This approach, aiming to provide the largest number of people with the best quality, has been deployed by Philippe Starck in all domains: from tableware to issues concerning the body and hygiene. Hygiene Among the numerous objects in our daily lives to which he’s given his mischievous touch, some are now iconic design pieces. He has created elements for the bathroom (for Duravit, Hansgrohe, Hoesch, Axor), and a toothbrush (Fluocaril, 1989).
By creating objects that put function before beauty, Philippe Starck designs exist in our daily lives thanks to their humanity and their intelligence. His creations make our existence and even the most anodyne have an allure that reveals their secret poetry. So the toothbrush metamorphoses into a friendly landmark in the bathroom, like a nod of encouragement, a work of sculpture all whilst being rigorously functional.
… Every object created is like a letter delivered to us by its creator. In 2014 with Axor Starck V, Starck explained the mystery of water, thrusting its power into the limelight, thanks to a tap that, “represents the absolute minimum: totally transparent, almost invisible, revealing the miracle of the vortex.” The same year the designer celebrated 25 years of collaborations with Duravit; as many years as “collections shaped by intelligence and elegance: the elegance of movement and truth.
” Body A designer in love with heightened senses and dreamlike vitality, Starck doesn’t look down on the poetry of mundanity. Keen on nourishing the body as well as the soul, he perfected an innovative tubular structure that guarantees the Pasta Panzani will be cooked to al dente faultlessness every time (1996). Fascinated by the feeling of drunkenness and the evasion it procures, Philippe Starck gave beer back its rightful nobility by producing what he doesn’t hesitate to call “liquid bread” with 1664 by Starck (2004).
In 2012, in collaboration with scientific adventurer David Edwards, the designer imagined an aerosol, the WAHH, which procures the feeling of being drunk in a single squirt, without the less desirable side effects. This little object explores new unchartered territory of aerosol food and the exponential relationship between trace amounts being ingested and the taste and effect felt. Many years of research and work finally allowed Starck and the champagne house Louis Roederer to introduce the Brut Nature 2006 vintage in September 2014.
This zero-dosage vintage is as much the fruit of a prestigious terroir as a unique collaboration between a champagne house, its cellar master and a designer. As Philippe Starck says, “Brut Nature 2006 is not only a wonderful adventure but also an invention: of a product but also its development process.” Clothes And Accessories “The closer we get to the body, the more honest the design must be.
The skin and the body do not lie.” If we were to look back at the origins of Starck’s interest in the human body, its fragility and its potential, we would find this formula embodying his definition of bionics. A visionary pioneer of our contemporary habits, the designer anticipated the complete integration of objects in to the human body with the Starck Watch – powerfully announcing that the watch will not only be digital but will also provide a platform of services.
From 1996 with Starck Eyes – in collaboration with Mikli and now Luxottica – Starck revolutionised the word of “bionic” eyewear whose unique patented bio-mechanical technology is directly inspired by the body. With his sensitivity to the multiple dimensions of existence it was inevitable that he would get involved with clothes. For Puma he designed intelligent shoes (2004) and for his Starck Naked brand he created underwear that was both technological and sexy.
In spring 2009 Ballantyne invited him to design a collection of clothes for men and women in cashmere. He ignored fashion with a modern and yet timeless approach, expressing a new form of sensuality using these genuinely “technological cashmeres”. “Life is something extraordinary that unfolds. It must be protected. We must commit ourselves to loving life and to loving ourselves for at least 15 minutes a day.
At home. At work. Just a few exercises and the correct, elegant position is enough.” It was in these terms that Philippe Starck presented his collection for the Home Gym Office (Alias) in 2009, hoping to promote a spontaneous and immediate approach to fitness and to bring this dimension into our daily lives: bracelets, anklets and necklaces which are not only exercise equipment but also elegant jewellery.
In 2010 Philippe Starck entered a new domain of well-being: perfume. He began collaborating with Nina Ricci to create a new bottle for L’Air du Temps. “The only thing that matters is the effect it has on the people who will use it,” he resumes. More a man of concept than object the designer captures the setting of this timeless perfume with an acute vision of the dematerialisation phenomena in our society.
Along with the New York collective Soundwalk, he even imagined a musical score that establishes links between musical and olfactive vibrations. In September 2014 Starck and Delsey presented 16 elegant and ergonomic designs that adapt to every use and every user, reinventing the world of luggage with Starcktrip. Lightweight and reliable luggage guaranteed for life, this is the result of research and cutting edge innovation that has explored as many materials as functionalities.
After three years of development, in autumn 2015 Starck unveiled his collection with the Brazilian company Ipanema. The Ipanema with Starck sandals, with a minimalist and organic design, are produced in ethical and eco-responsible factories in Brazil, using 30% recycled materials. Thanks to this system of creation and virtuous production, Starck extends his concept of democratic design that is both eco-nomic and eco-logical.
“When elegance is available to all for just a few dollars or euros, it’s no longer magic, but a modern miracle,” he summarises. In 2016 Philippe Starck presents Starck Paris, a first collection of perfumes made in collaboration with three master perfumers: Daphné Bugey, Annick Ménardo and Dominique Ropion. His work on the fragrances proposes an “exploration through us, of elsewhere, of the unconscious.
” This metaphysical experience between the visible and the invisible, materiality and immateriality is an escape to extraordinary worlds, searching for this Space Between. Babycare Because daily life is also about family life and children, Philippe Starck is committed to offering functional and innovative products, ushering in a new era for parents. In 2002 for the American supermarket chain, Target, he designed sixty ultra-creative objects, from a cup to a baby’s bottle: affordable pieces created to modestly enhance up the daily lives of American housewives, even in the heart of Minneapolis.
Then in 2006 Philippe Starck created a new revolution in this market with his range of original articles for Maclaren. Not just beautiful and elegant, they are high quality, practical and easy to use. Cooking And Tableware Driven by the same passion for products and their beneficial effect on the body, Philippe Starck is also interested in the world of cooking, from the biomorphic lemon squeezer Juicy Salif (Alessi, 1990) to his renewed approach to tableware with Miam Miam in 2000.
In 2005 Philippe Starck mischievously revisited the Baccarat traditions by daring to revive the tradition of black crystal. He gave the products in the Darkside collection, a tribute to the legendary Pink Floyd album, Dark Side of the Moon, symbol of an incandescent era, evocative names that resemble onomatopoeias in a comic book. In 2012 Philippe Starck gave Laguiole a knife with a stainless steel handle imprinted with a wood effect, adding to its natural appearance.
This piece for the table reiterates once more the ethics of simplicity so dear to the designer: no roughness and no complexity, because handling a knife is elementary. In September 2015 Philippe Starck showed his intuitive and intimate understanding of everyday objects with the creation of a collection of kitchen equipment – refrigerators, hot plates, cooker hoods, ovens and microwave ovens – for Gorenje.
These elements in stainless steel and high-shine glass, with their streamlined and elegant designs adapt to all interiors. A Committed, Political, Visionary Design “I’ve tried to steer the craft of design towards a political and social action, complicit and yet denouncing, to generate action and reaction.” Philippe Starck Philippe Starck has always sought to convey a political, subversive message.
He works by associating humour and poetry with spectacular undertakings. And he likes nothing more than knowing these surprises will provoke love or rejection. “An object that is instantly accepted doesn’t have the right to exist,” he likes to repeat. Plastic: Dematerialisation And Invisibility “In the long term design will join one of the most fundamental lines of our evolution, which is dematerialisation.
” Philippe Starck By deciding early on to use plastic in his furniture creation Philippe Starck demonstrated a profound comprehension of dematerialisation and invisibility. Less material for greater intelligence, this is how the designer imagines objects. “When waiting for certain objects to disappear, they have to be rendered bearable by a choice of view coming from an attempt at invisibility through transparency.
” So he developed plastic furniture – from the WW Stool (1990 Vitra) to the Masters (Kartell) and Pipes chairs (Driade) – whose culmination would be the icon chairs Marie and Louis Ghost (Kartell 2002) a veritable treaty of modernity announcing this inevitable dematerialisation. The Marie, a pure ‘mathematical’ chair was created by the designer to have the least possible style, the least possible weight, the least possible material and the least possible presence.
But it’s with the Louis Ghost that this approach to dematerialisation found its greatest success with more than one million examples sold. And Philippe Starck is convinced the chair is the result of this new approach but also a legacy and collective Western thinking as well as the bridge he has built between dematerialisation and democratisation. “The Louis Ghost was made by our collective subconscious; it’s just the natural result of our past, our present and our future.
Thanks to its technology it equally allows for good design and good technology at the right price. It’s the continuity of democratic design.” With the Masters chair of 2009, Philippe Starck continues his reflections on the notions of dematerialisation and inheritance. He takes apart, cleans and dissects design icons in order to identify and extract their structural lines that, to use the words of the creator, “add together to create a new product, a new project, reflecting our new society.
” With the Masters, Starck offers his reading of the generic lines of three great designers from the history of design (Eames, Jacobsen and Saarinen). In 2016 with the GENERIC.A and the GENERIC.C (Kartell) chairs he liberates the outside lines, going to the heart of every detail, to the interior generic lines. “An interesting approach intellectually, but one that’s also about Economy and Ecology because it’s primarily a work on the intelligence of matter, on the intelligence of structure” offered by Starck through the GENERIC collection.
The production of plastic furniture takes on a new dimension with the establishment of the TOG – All Creators TOGether in 2014. The Italo-Brazilian brand strives mainly to express a political mind-set, affirming a philosophy that proposes to “reconcile two opposing worlds: that of industrial high technology, that of mass production with that of the craftsman, reflecting original, unique and human excellence.
” Through TOG Starck attempts to resolve the paradox generated by our society in crisis, aspiring to products strengthened by a vital hope for cultural and material life, functional and available at affordable prices. Lighting And Furniture Every year, the International Furniture Fair in Milan is a chance for Philippe Starck to present his new “fertile surprises”. For Starck light plays the same role as words do for a writer: without it nothing is possible.
His philosophy and ethics feed this notion. His Hamish (3 Suisses, 1984), his Miss Sissi (Flos, 1991) and his lamp SuperArchimoon (Flos, 1999) demonstrate how long light has been of a decisive nature in his oeuvre. Of the Gun Lamp (Flos 2005), Starck has said it is “a sign of the times”, which violently inscribe death into our daily landscape. Subversive and political, the iconic lamp also bears the crazy poetry of its creator.
A part of the profit generated by this rare object is donated to the charity “Freres des Hommes”. His passion for subversion and confrontation with unusual objects without any apparent connection between them is perfectly evident with Marie-Coquine (2011). A tribute to the poetic surrealism of Mary Poppins, the Baccarat crystal chandelier is transformed into a sculpture that screams “ready-made and dada”.
At one end an ivory umbrella hovers over the light source and at the other a counter-balance is created with a boxer’s punching bag. Placed in the middle of a living room Marie-Coquine is the perfect example of “a fertile surprise”. Every creation carries an under-lying message, a denunciation. So the Attila stool (Kartell, 1999), in the shape of a garden gnome, is a deliberate wave in the omnipresent sea of minimalism.
Formal and composed when receiving guests, the Privé Collection (2007) provides the perfect field of transgression in the intimate and private parts of the house. Day and night mingle while living room and boudoir meld with this collection featuring a chair, a sofa and a pouf. With Lou Read (2011) he proposes an armchair with sculptural curves for the Royal Monceau, the place he met Lou Reed fifteen years previously.
More than just a tribute to his friend, the project is a manifesto for reading and conversation in an era dominated by screens. In 2016 this family expanded welcoming a chair and an armchair into the fold, entitled respectively Lou Eat and Lou Think. The 2013 International Furniture Fair in Milan was the perfect event for Philippe Starck to show his new “fertile surprises”. For Baccarat the designer revisited the timeless story of the iconic Harcourt, from the wall lamp to the table lamp and the legendary Zenith chandelier.
This fascination for light also nourished innovations at Flos: the A4 Light lamp with its flat light, Kiki Le Cube – “full of emptiness” – and the fantastically elegant Chapo lamp. This poetry is echoed in the furniture designer for Magis, with tables which look as though they might take off or escape on their wheels and a dog with a knowing look. Finally Philippe Starck revealed the sofas My World (Cassina) “a cocoon, a niche, a world” and Ray (Dedon), comfortable and timeless.
His latest creations for Kartell pay tribute to the chairs, armchairs, tables and console tables of his uncle and aunt in minimalist and technological versions. Proof, as if we needed anymore, that Philippe Starck never stops imagining a future leaning towards dematerialisation. In 2015 Starck returns to his exploration of the dematerialisation and timelessness. The Sir Gio table (Kartell), with its fascinatingly sculptural lines, conceived like a work of art, reflects Starck’s obsession with always wanting to create maximum effect with a minimum of material, with no gestures of caricature, free of the superfluous.
In the same year, with Magis, Starck revisited his legendary armchair and while preserving the obvious simplicity of its lines he gave the Stanley chair (Magis) a new lease of modernity, thanks to the elegance of hi-technology deployed in its design. Technical elegance is also at the heart of the Bon Jour collection conceived with Flos. This lighting collection inaugurates a new archetype, that of an ethereal body, pure, almost immaterial, that lends itself to personalisation according to tastes and the creativity of each individual.
Finally with the Boxinbox collection for Glas Italia, Starck rethinks the metonymic relationship between the museum and the art work, by proposing transparent glass furniture such as the “Museum of museums”, that is both showcase and art object. A Democratic Ecology “In order to save our planet, change our societies and make them more inclusive, we need initiatives, major actions” Philippe Starck Long before environmental concerns became mainstream, a pressing urgency had told a prudent visionary that they would lie at the heart of our present, and be essential to our future.
His concern for developing durable creations imagined independently of any notion of a perishable world, and that they be above all useful and perform their essential function, has inscribed his work right from the beginning, in a responsible, ethical approach. His objects, his solutions, Philippe Starck wants to share them with the most people possible by offering hi-tech, ecological objects at affordable prices, without hesitating to make beautiful things or encourage responsible consumption.
A visionary and enthusiastic citizen, Philippe Starck is committed to the future of mankind via a democratic ecology that will help his contemporaries live in harmony with their natural surroundings, all while being a part of “the big picture”. He aims to go beyond survival by offering future generations the possibility of writing their future on a fresh page, so that they can invent another story and a new romanticism.
This is the vision: to change the perspective of his creative actions, to go further and to share them with the greatest number of people. “Increasingly aware, we can all take the destiny of the human species in hand instead of drifting into the mechanisms of a market.” It consists of giving up the insane cycle of fashion for sustainable, durable objects. As a visionary Philippe Starck captures the mutations of a contemporary world by bringing about concrete answers through a bionist approach, among others, inspired by the organic and a will to initiate a sustainable de-growth, always looking for the most in the least.
Even if there’s no proposition to provide a definitive solution to the issues of our times, the designer hasn’t stopped offering new models, other means of consuming and travelling, convinced that it is the inventors who draw the path to a better world. Recognising the urgency to develop a democratic ecology, his civic battle has become increasingly radical today. It’s a personal commitment and an invitation to join him.
In 2006 he invented an individual wind turbine for the Italian industrial group, Pramac, which is attractive and invisible, easily accessible and usable at an affordable price. It also responds to the new criteria of mobility imposed by our nomadic destiny. Beyond its technical characteristics, it completely changes our approach to consuming and generating energy. In 2015 with Speetbox by Starck, the first collection of high performance heated furniture, Starck pursues an approach that lies at the heart of ancient preoccupations: rethinking our ways of consuming and generating energy as a key issues.
An airtight wood burner can be added to by a system known as “box” with a variety of functions: storage boxes adapted to the storage of firewood, and boxes that accumulate heat allowing for a gradual diffusion of warmth over a 24h plus period. Thanks to an original smartphone app, the wood burner is controllable and programmable outside the home, high technology allowing for the personalised control of all heating parameters.
Speetbox by Starck makes ecology and technology accessible to all, and offers the possibility of an economic, high performance and adapted heating solution. Products And Daily Objects A pioneer in the commitment to responsible development, Philippe Starck created Good Goods in 1998, a catalogue of “non-products for the non-consumers of the future moral market,” sold by mail order (La Redoute).
The catalogue offered products in organic cotton and Ecover detergents, solvent-free paints... Pushed by a generous and humanist impulse, he also created in 1998, OAO, a food company that aimed to simplify access to organic products as well as festive items such as champagne and wine. In 2005 the launch of La Amarilla (LA) marked a new direction: it’s the first organic olive oil to be made by an oenologist, Michael Rolland.
At the 2012 International China Oil Competition, LA Organic won the gold medal with the LA Oro Intenso oil and silver medal with the LA Oro Suave oil in the organic oils category (no pesticides). In 2013 for the third year running, the LA Organic oils received three gold medals at the Los Angeles International Extra Virgin Olive Oil Competition in 2013. With Starck the priority is always the best for everyone, unconditionally.
And he has consistently proved that another vision of consumerism is possible. A profoundly ethical approach pushed Philippe Starck to devise the Feuille d’Eau in 2010, and then the Lame d’Eau in 2014 - a reusable flask and carafe respectively, designed to encourage people to drink tap water for the common good of humanity, while its sales help finance actions supported worldwide by Danielle Mitterrand’s foundation France Libertés.
This consciousness of the symbol represented by water is also at the heart of his design of the bottles for the Saint Georges brand (2011). This bottle is like the water it contains: pure. It encapsulates what is most beautiful in Corsica. In 2012 Philippe Starck offered a 100% recycled waste paper bin made from plant plastic cultivated nearby. An aesthetic and ethical object, ELISE by Starck is an appeal to everyone to practice fun recycling.
It also won the Eco Design Award. The objective of this project is manifold: to ensure the collecting and recycling of office papers but also to create an activity that ensures the stable employment of people experiencing problems with integration, such as those with disabilities. As he says, “My responsibility now is to be interested in future productions of energy and the future materials which will replace plastic, the most useful derivative of oil.
” Mobility In 2012 Philippe Starck presented his electric car, going back to the source of the object. With the V+ made by an independent French car manufacturer, Volteis Electric Car, the designer explored new territories of mobility. And this prospective approach was received with interest by the general public: the project was recognised at the Sustainable Luxury 1.1618 Fair with the Prix de Public 2012.
“I wanted to offer an alternative, a different solution, so that we may go back to the minimalist definition of a vehicle. A vehicle for transporting. Almost nothing. So we have more. More humanity. More respect. More choice to show that we care about our environment.” We see the same democratic vision of mobility, more prosaically but with just as much power, with the Pibal (2012) in Bordeaux.
By offering the inhabitants of Bordeaux an urban and revolutionarily ergonomic bicycle, Philippe Starck gives an answer to the new questions concerning the evolution of mobility. Because far from resembling a designer bike, the Pibal is a fair and ethical bike, adapted to its environment and new uses. Thanks to a platform situated between the two wheels, it can transform into a scooter ideal for manoeuvring through pedestrian zones.
Philippe Starck shows how transportation can be technical and ecological, universal and distinctive all at once. In 2014 Philippe Starck continued his tireless work on the codes of mobility by associating technological miracles with an ecological approach. An unconditional lover of two wheels, Starck sees the bicycle as one of the rare productions of human intelligence that is positive, constructive and beneficial.
His collaboration with the French bikemaker, Moustache Bikes, resulted in the StarckBike: a collection of four electrically assisted bicycles capable of exploring “all terrains, and particularly those that are unlimited and poetic.” Democratic Architecture From 1994 onwards, via his collaboration with 3 Suisses and his historic Maison de Starck an individual mail order house made from wood, Philippe Starck established himself as a pioneer of ecological and democratic architecture, at a time when wooden houses were virtually prohibited.
With P.A.T.H. (Prefabricated Accessible Technological Homes), Philippe Starck is renewing the approach to individual high-tech pre-fabricated housing. Available from May 2013 onwards, made and distributed by the Slovenian company Riko, this all-inclusive solution, “for all”, totally encompasses the preoccupations that have been animating Philippe Starck from the beginning: accessibility, comfort, security, adaptability to needs, timeless design, integrating a genuine industrial process to guarantee a durable quality, and of course respect for the environment and ecological standards.
“If we want to think about things in the long term, we have to be sure the style we create today will still be acceptable in 50, 100, even 200 years’ time. More than the style, we have to think, imagine and build with the right materials. With the most reasonable price possible. With an irreproachable quality. And by using the very best technology. It is all of this that will be take us towards a ‘good future’”, Philippe Starck reminds us.
The Post-plastic Era While today no one can imagine a life without plastic, it’s essential for Philippe Starck to think about the future in the light of the emergence of a new civilisation. Strengthened by the fact organic and recycled plastic won’t be enough, the designer is working on a deeper revolution, that of sustainable de-growth and the creative intelligence which will lead us to a happy post-plastic era.
And the fruits of this post-plastic era that Philippe Starck dreams are already being harvested. With Miss Sissi lamp (Flos, 1988) in biodegradable plastic and then the Zartan chair (Magis, 2012), the first entirely recycled roto-moulded chair, plastic components have been replaced with plant-based materials. The Broom Chair (Emeco), of the same year, initiated another revolution by recycling industrial waste into an innovative and sustainable composite.
The designer made an impression at the Venice Architectural Biennale with a very personal and poetic conception of new ways to use objects. In 2010 his creations made from the Briccole di Venezia, robust wooden stakes planted into the lagoon, gave these Venetian emblems a second life, perpetuating the eternal history of the city. “Everything about the Briccole has a noble elegance. Above all this wood will now humbly finish its beautiful career in our houses, with us,” Philippe Starck enthuses.
The Technological Miracles With creativity as his only paternal legacy, Philippe Starck has always known how to inject it into his own destiny. Integrating engineering into his projects early on, he has made it more of a motor than a practical condition to create real technological miracles, capable of converging new and old uses, while understanding the mutations of a contemporary world. Between 1993 and 1996, in his role as creative director at the Thompson group, Starck created numerous products including loud speakers, televisions, such as the portable Zeo TV (1994), and Jim Nature, the first television with a compressed wood shell (1994), the voice-controlled telephone Aloo (1995), the LCD Cube overhead projector (1996) and the Lalala radio (1996).
“From technology to love” he proclaimed. Indeed his creations for the French brand are distinguished by their playfulness, proximity to the user and their technological efficiency. After dedicating himself to the cordless speakers Zikmu (Parrot, 2009) and the “protection of the spirit of sound”, Philippe Starck went even further in this alliance between the most advanced technologies and a profoundly sensitive approach.
Always seeking out an original sensorial experience, he brought about another revolution with Zik by Parrot (2012), the earphones that take movement into consideration plus the need to dialogue with the environment and the necessity for an intuitive ergonomics. The 2012 “Best of CES” prize acknowledged this success. Philippe Starck’s object is a converging zone for the miracle of technology and an extension of the human body.
Two subsequent versions of the earphones, Zik 2.0 (2014) and Zik 3 (2015) have been recognised and awarded numerous prizes – such as the Distree Diamond Award in 2015 – for their technological and aesthetic innovation. Philippe Starck admits that his passion for quality music is particularly fecund. “Programming good music is essential for the quality of my projects. I am obsessed by music. If the music is right, then I’m ready to work.
” With the Freebox Revolution (2010), Philippe Starck found himself with an object that gave power back to the people, embodying a democratic design which he’s been defending for so many years. “It’s democratic because ultimately it’s unbelievably inexpensive for the service it provides. When you think about the power of reasoning, intelligence and information that we can gather thanks to it, the price is nothing, its peanuts.
And it’s revolutionary because it can do everything. We realise that with boxes like the Freebox, we are only limited by ourselves.” But isn’t the greatest revolution Philippe Starck invites us to, that of the imagination and innovation? By putting humans at the heart of progress and convergence, he demonstrates again and again that he is more concerned with the living than with achievement.
Thwarting expectations is one of his favourite games, and he is always using technology to push the limits of an object while remaining faithful to new usages. For LaCie Starck designed two external hard drives, LaCie Starck Desktop Hard Drive and the Starck Mobile Hard Drive (LaCie 2009). The first is equipped with a tactile surface which responds to touch and allows application launches with a single swipe.
With the new hard drive LaCie Blade Runner by Starck unveiled during the 2013 CES, Philippe Starck offers a Pandora’s Box which aligns an anthropomorphic metal interior with an angular shell resembling a cage. Protected by aluminium, the LaCie Blade Runner is, without question, the hard drive that best unifies sturdiness with aestheticism. The research for optimal technology aims to satisfy our real needs, and not create new superfluous or artificial ones.
Striving for durability, to establish a sustainable relationship between Man, production and object is the first step in engaging with environment protection. The D’Elight (2012) and the iPad work on the convergence of uses and objects so that the “information source becomes a light source.” By developing with the Italian brand Flos the first lamp in the world that uses the technological innovation as represented by the Organic Light Emitting Diode (OLED) Philippe Starck is once again in line with research that will define our future.
In 2013 in partnership with the French company Netatmo, Starck devised a smart thermostat (Netatmo by Starck): in 2016 he prolonged their collaboration with an electrostatic valve for radiators. These everyday objects allow us to remote control our heating thanks to a smartphone app and thus reduce our energy consumption by adapting it to our true needs. Philippe Starck once again strikes the perfect balance between a design and a functionality that will mark our future.
Bionism “Bionism is being inspired by the organic in order to create technologies better adapted to humans.” Philippe Starck Since 1996 Philippe Starck has been designing the revolutionary ergonomic “bionic” glasses, Starck Eyes (Mikli), with a unique patented technology inspired by the bio-mechanic articulations of the human body. Smoothly moving they become an extension of the individual, disappearing from our visual perception to become part of us.
With the Starck Watches, worn close to the skin, Starck is anticipating the actual integration of objects into the human body. The concept of the “most with the least” has been adapted by Philippe Starck, most notably with the “hollow water” effect of his Organic (Axor, 2012), which gives the impression of a generous flow, but in fact is economising water. Inspired by the plant world, Philippe Starck thus promotes a profoundly bionist and ecological approach.
In 2012 Philippe Starck unveiled the Venus, a 78.2m long yacht illustrating the best of a bionist approach which constantly seeks more in less. “It’s a void made up of such research and such quality that it becomes stronger than any fullness,” its creator resumes. Industrial Design In January 2010 at the Hannover Domotex Fair, Philippe Starck presented the fruits of his collaboration with the Danish house Fletco.
Starck by Fletco (honoured with the Interior Design Award 2011) is not only a collection of rugs and carpets, “It’s a magical game where all the combinations work. This collection of squares offers interior designers, as well as everyone else, the chance to create an infinite variety of partitions, their own work.” The game is extended by a reflection on our throw-away era, implicating that this rightful object is here for the long term.
By using a variety of materials – brushed aluminium, steel, wood, glass and a dose of luminescence – Starck throws opens the doors to the imagination. The textile production techniques developed by Flecto, wholly respectful of the environment, fall naturally in line with Starck’s own approach. This approach, combining flexibility and sustainability, is equally at the heart of his first collection of ceramic tiles made in association with the Italian manufacturer Ceramica Sant’Agostino in 2012.
Flexible Architecture Ceramica Sant Agostino by Starck, composed of a rigid material, is a new flexible architectural element with infinite possibilities, all while maintaining the durable nature of ceramics. “We’re leaving the ‘two-dimension’ to focus on ‘3 dimension’ which offers an infinity of dimensions and possibilities,” summarises Starck, “There’s no longer a question here of decoration, this is architecture.
” Flexible, easily adaptable, 3-dimensional, the uniqueness of this vision has also been applied to the facades of industrial buildings. In 2013 Starck revisited traditional metal cladding thanks to a unique system that allows architects to individualise their constructions without piercing or modifying their integrity. Like a game of building bricks, Bacacier by Starck was imagined as an amazing toolbox for architects, allowing practically infinite combinations of relief, materials and colours.
These projects all perfectly fit with his ambition to make the environment a better place, from carpets to flexible architecture. Reinventing Mobility In anticipation of the major mutations of the modern world, Philippe Starck reinvents mobility by combining technological miracles with an ecological approach. Motorbikes “From my earliest years I’ve had two wheels at my feet: I am a biomechanical being, half man, half two-wheeler.
The motorbike is the most intelligent means of locomotion after walking and the bicycle.” Philippe Starck In his hands - because he himself is a joyous and experienced motorcyclist - motorbikes such as the 6.5 (Aprilia, 1995) and the X3 (Aprilia, 2000) or even the Super Naked Xv (Voxan, 2007) integrate better into their environments thanks to a research into minimalism. They become objects of leisure and freedom once more, free of machismo yet loaded with panache, far from consumer vanity.
A passionate and unconditional user of Kawasaki – he owns seven, spread around the world in every city where he regularly works – Philippe Starck revisited the Kawasaki W800 in 2011 and created a simple, functional and reassuringly elegant object: “A good motorbike is made up of the bare minimum,” the designer explains, “A motor, a tank, two wheels. Many technicians go for more; we have chosen to go for less.
” Boats The marine environment is another source of inspiration. Starck loves the sea, boats and has a profound, natural knowledge of the ocean, defining himself as an amphibian, "webbed feet and a back covered in scales". He collaborated with Bénéteau for the sailing boat First (1988) where he reinterpreted the timeless codes of the sea, then he went on to create the Virtuelle (1997), a racing boat with minimalist forms, in perfect harmony with the sea.
He has also created several mega-yachts. The Wedge II (2002), innovative in its purified appearance contrasting with the conventions (and did he have fun) of this type of boat and whose elegance was rewarded the prize of best boat of the year. Then in 2008 he designed the A (119 meters long), a discreet and ecological vessel, inspired by the rhythm of the waves and the shape of a fish, it has an immense and revolutionary bow: “I designed one of the first hulls that doesn’t make any waves, even at 25 knots,” reminisces Philippe Starck.
With its Tenders, the aesthetic and philosophical innovation that the mega yacht A was given companions of equal elegance, with a ‘Limousine’ version offering an interior worthy of a super-yacht itself and an ‘open’ version with its sumptuous circular cockpit. Two major prizes were awarded to the yacht A: “Most Innovative Yacht in Yachts France” at the Cannes Maritime Fair 2009 and “Most Innovative Exterior Yacht Design of the Year 2008” at the Asia Boating Awards Ceremony in 2008.
His collaboration with Hobie Cat (2009) came out of a longing that was very personal, "I was given the honour and joy to possess and steer every model of the Hobie Cat. This addiction was a religion. The religion of minimalism." Fun, elementary and destined for all, his re-writing of this mythical boat brings together the democratic vocation he gives all of his products and his dream of mobility, in every possible way.
The Venus (2012) more than 70m-long yacht, born from a philosophy of dematerialisation is the fruit of a regular and nourished dialogue with its backer, one of the century’s geniuses. “For four years we analysed every single detail and brought together innovations to develop a concentration of the highest level of intelligence and quality,” explains Starck, “We reinvented marine technology through our work, it was philosophy in action.
” Public Transport After designing the first class waiting rooms for the Parisian and London terminals of the Eurostar, that magnificent train that links an island to a continent, but which also encourages the circulation of ideas and the imagination, Starck had the chance to revisit his early years and childhood drawings. Between 2006 and 2007 he was artistic director for Virgin Galactic, in charge of the project for liberating and democratising spatial tourism.
In 2013 in a similar democratic vein, Philippe Starck redesigned the transport pass, the Pass Navigo, for the Ile-de-France region, into a symbol of democratic quality. By giving this daily object, and the general public, the appearance of a rare object – sleek and elegant lines – the designer demonstrates once more how beautiful things are not the exclusive preserve of the elite. With the Pibal bicycle (2012), created for the city of Bordeaux, Philippe Starck sought to meet the challenges posed by a contemporary city, those of an ecological and shared mobility.
“A correct and inventive solution to new questions,” resumes Philippe Starck. A well-rounded creator with a global vision, Philippe Starck strives to give his love of mobility the same exactitude – subversive 20 years ago, essential today – of dignity in relation to our world and our history. Accompanied by scientists he’s currently developing numerous projects: solar, hydrogen and sail hybrid boats (from 2m to 145m long).
He also has the patents for new photo-voltaic surfaces and is working on a tourist concept with no carbon footprint. There are clearly no scientific or technological miracles without a poetic intuition… The Future “Offer our children another history, a new romanticism”. Philippe Starck A polymorphic designer, a nomad perpetually travelling the world with his wife and muse Jasmine, always present where he is least expected (just like in life, “that’s what happens when we do other projects”, joked John Lennon), always looking for natural elegance and a hero of democratic obligation, Philippe Starck will never give up his hopes, desires, visions and duties and shows himself to be an honest man directly descended from Renaissance artists.
From high technology for the individual to necessary mobility, from food, housing, energy production and even clothing, there is no aspect of our daily lives in all its implications that has escaped his visionary, poetic and subversive approach. Nothing human is foreign to him. Everything concerns Philippe Starck. From a precocious consciousness of our perilous lifestyles he has drawn even more energy and a will to share his vision: that which is inscribed in the “big picture” of the history of our evolution.
Commitment Because we are witnessing so many changes - some positive, others catastrophic - it’s vital for Philippe Starck to try and find answers. And it’s by orientating design towards the future, politics and responsibility that the creator is attempting to lay a foundation stone for the new world. Aware that time on earth implies a responsibility, he promotes the “courage to exist”, to invent and reinvent, to play a role in contemporary evolution and mutation.
Because, “Whatever we do, the extent to which we take account of it, we will soon be obliged to move towards de-growth, because it’s in man’s DNA to progress. The subject of the forthcoming years will be to find a model for positive de-growth that will save us.” While design might not be able to answer every question, it can none the less add a vigilant contribution. This has always been Philippe Starck’s combat, from democratic design to democratic ecology; he wishes above all to create accessible, ecological objects for the largest possible audience.
So decades after his early battles for his creations to be made available to all, the present has proved him to be right: from the environment that needs to be defended to the necessity of leaving this planet, we’re all involved in this story, our story. Refusing the state of things isn’t good enough; we have to react to change things, to reinvent. Starck is offering to lead a revolution, nothing more, nothing less: a revolution in our life styles so that precisely this life can continue.
To be necessary, indispensable, this fight for democratic ecological is inherently joyful, vibrant, questioning our practices to encourage us to change and finally achieve a moral market. Philippe Starck has repeatedly demonstrated that whatever its size or purpose, the honest object – in the introduction we evoked the honest approach of the man and designer Starck – does what it can do to the best of its means, most efficiently, most usefully and most respectfully, with a minimum of materials.
The most intelligent part of human production is, after all, found in the idea of reducing materials and moving towards lightness and invisibility all while augmenting competence. For Starck the future is a question of materials, “Man needs nothing material, only the capacity to love, intelligence, humour and ethics.” The generosity of his activity, which he refuses to restrict to a single field or a single elite, shows us that behind this famous designer with all his accolades, is a man aspiring to the best for all his fellow men.
Recognition A major figure on the world’s cultural stage, exhibited in the biggest museums (the Pompidou Centre, the Guggenheim and MoMA in New York and the MoMA in Kyoto...), at the avant-garde of contemporary environmental concerns and responsibility, the subject of numerous books, omnipresent in the media, professor at the Domus Academy in Milan and at the Ecole Nationale des Arts Décoratifs in Paris, Philippe Starck is respected for the originality, rigour and quality of his work.
Today his name and personality almost belong to the general public, with a waxwork statue in the Grevin Museum in Paris. For everyone Philippe Starck embodies the desire for a better life, here and now of course, but also for tomorrow. Ever since his consecration as Officier des Arts et des Lettres in 1985 (promoted to Commandeur in 1998) Philippe Starck has been honoured with more than 100 prizes and decorations: the médaille de Chevalier de l’Ordre National de la Légion d’Honneur, in 2000 attests once more to the recognition of his country.
His influence extends beyond France’s frontiers: witness the President’s Award from the British association D&AD and the Harvard Excellence in Design Award given to him by the prestigious American university in 1997. His career – and the movement free of constraints it has led to – was consecrated in 2008 when he accepted the job of Artistic Director for the French Presidency of the European Union and then in 2009 when he accepted the post of Ambassador of Creativity and Innovation.
He is constantly being contacted to share his experience and his vision as much by international conferences as by businesses that see themselves in his work of a 1000 facets, inspired by his pioneering approach. His expertise shines way beyond the world of design. He has quite simply defined new paradigms for our very existence. The Transmission “Life is only worth what it allows you to learn and by the opportunities it offers to transmit.
” Philippe Starck His concern for democracy, whether it is ecological or design, is combined with a pedagogical desire to put intelligence and ideas first, wherever they are sexiest. So in June 2009 he presented La Nuit des Idées (The Night of Ideas) on Canal +, during which he presented the famous TED Conference to demonstrate the sheer brainpower that contributes to our living well and well-being.
Starck likes quoting Boileau’s famous maxim, “Whatever we understand well we express clearly, and words flow with ease”. In the documentary Futur par Starck, shown in June 2013 on Arte, the designed introduced the men and women inventing the world of tomorrow. In front of the camera Philippe Starck talks to the astronaut Jean-François Clervoy and the economist Jeremy Rifkin as well as scientists and researchers from around the world in a discussion on our collective future and its ethical, ecological and economic stakes.
The truth is Philippe Starck never wants to stop communicating ideas. Fascinated by science and constantly exploring, he has launched himself into the creative project of the first laboratory of fundamental research on pure creativity. Scientists from multiple backgrounds, who are working on creation itself and not its application, are working to understand how creativity works, and from there how it can be transmitted, taught to those who don’t think of themselves as creators, who won’t let themselves create, or who don’t know how to set the right conditions.
“I think that every individual holds within them a creative potential, which can be developed if he is shown how,” resumes Philippe Starck. It’s in this same spirit that he plans to build the biggest ever brain by federating 220 million unemployed people and turning them into thinkers. “I would like to create the biggest think tank so we can have a tool that is capable of responding to the most important priorities and issues of our society.
” In 2012 for the first time Philippe Starck accepted to do a book of interviews, in order to better share his existence. With Impressions d’Aillures, this creative mind, always one step ahead of his time, reveals himself to be modest, emotional and brilliantly intuitive. As with all his projects, his ambition for truthfulness led him to this dialogue with Gilles Vanderpooten, who’d initiated the project.
After three decades of creation, looking to the other side of the stars and the horizon, Starck is now turning towards the future more than ever, the destiny that brings us all together. By stimulating vocations and electrifying spirits, his gestures are guided by love, an unsinkable passion for his neighbour and the resolution to build happy tomorrows. While Rimbaud wrote, “Dawns are heart-breaking” Starck will never give up on making sure that they continue to amaze us.
Through his commitment he hopes to help his emotional tribe place itself in a fundamental perspective: that of the progress of our humanity mutating in the heart of the universe. By humbly setting an example, he has shown us that we all have a responsibility to merit our existence and honour the link that unites us by showing inventiveness, courage, intelligence and responsibility. The dates mentioned are the opening dates of the venue and the launches of the products.
Philippe StarckBorn on January 18th, 1949in Paris, Francefrom André Starck (industrial aeronautics)and Jacqueline Lanourissemarried to Jasmine Abdellatiffather of : Ara, Oa, K, Lago and JusticeStudied at Notre Dame de Sainte Croix in Neuilly and l’Ecole Nissim de Camondo in Paris, France Creation of Ubik (1979) Architecture / Dates are opening dates Exterior Le Nuage, life and sport center, Montpellier France (2014) P.
A.T.H. Prefabricated Accessible Technological Homes, Riko (2013) Ma Cocotte, restaurant, Saint Ouen, France (2012) Port Adriano, harbor, Majorca, Spain (2012) Alhondiga, life, culture and sport center, Bilbao, Spain (2010) ENSAD (Ecole Nationale Supérieure des Arts Décoratifs), Paris, France (1998) Airport Tower Control, Bordeaux, France (1997) Placido Arango, private house, Madrid, Spain (1996) Starck House, individual wooden house sold by mail order, 3 Suisses (1994) Private Buildings, Paris, France (1987-1994), Madrid, Spain (1995) Le Baron Vert, building, Osaka, Japan (1992) Asahi Beer Hall, Headquarter building, Tokyo, Japan (1990) Nani Nani, building, Tokyo, Japan (1989) Laguiole, factory, Laguiole, France (1987) Interior ZA, Urban & litterary café, Paris France (2016) South Beach Hotel, Singapour (2015) Café Ha(a)ïtza, restaurant, Pyla, France (2015) Katsuya, restaurant, Arabella, Kowait (2014) Caffè Stern, restaurant, Paris, France (2014) SLS, hotel and casino, Las Vegas, United States (2014) Paradis du Fruit Dubai, restaurant, Dubai, United Arab Emirates (2014) Katsuya, restaurant, Dubai, United Arab Emirates (2013) Katsuya, restaurant, Kuwait City, Kuwait (2013) Mama Shelter, hotel, restaurant, bar, Bordeaux, France (2013) Mama Shelter, hotel, restaurant, bar, Lyon, France (2013) Mama Shelter, hotel, restaurant, bar, Istanbul, Turkey (2012) Miss Ko, restaurant, Paris, France (2013) IDAM, restaurant, Doha, Qatar (2013) Ma Cocotte, restaurant, Saint Ouen, France (2012) SLS Hotel South Beach, Miami, United States (2012) MIA Coffee Shop, Doha, Qatar (2012) Mama Shelter, hotel, restaurant, bar, Marseille, France (2012) A’Trego, restaurant, Cap d’Ail, France (2011) My Blend by Clarins, Royal Monceau, Paris, France (2011) Royal Eclaireur, store, Paris, France (2011) Royal Monceau, luxury hotel, Paris, France (2010) Mori Venice Bar, restaurant, Paris, France (2010) La Cigale, café, Paris, France (2010) La Co(o)rniche, hotel, Pyla-Sur-Mer, France (2010) Alhondiga, hotel, Bilbao, Espagne (2010) Palazzina Grassi, hotel, Venice, Italy (2009) Paradis du fruit, restaurant, bar, Paris, France (2009) East West, sound recording studios, Los Angeles, United States (2009) Katsuya, restaurant, Los Angeles, Glendale, United States (2008) Katsuya, restaurant, Los Angeles, Downtown, United States (2008) Bon, restaurant, Paris, France (2008) Baccarat House, museum, store, restaurant, Moscow, Russia (2008) XIV, restaurant, Los Angeles, United States (2008) SLS Hotel, store, Los Angeles, United States (2008) Mama Shelter, hotel, restaurant, bar, Paris, France (2008) Ramses, restaurant, Madrid, Spain (2008) Le Meurice, luxury hotel, Paris, France (2008) Katsuya, restaurant, Los Angeles, Hollywood, United States (2007) Sbar, restaurant, Los Angeles, United States (2007) Fasano, hotel, Rio, Brasil (2007) Taschen, library store, Los Angeles, United States (2007) Baccarat House, museum, store, restaurant, Paris, France (2004) Kong, restaurant, Paris, France (2003) El Porteno, hotel, Buenos Aires, Argentina (2002 - 2006) Eurostar terminal, salon lounge, London, Great Britain (2002) Eurostar terminal, salon lounge, Paris, France (2002) Jean-Paul Gaultier, store, Paris, France (2002) Bon II, restaurant, Paris, France (2002) Taschen, library store, Paris, France (2002) Mikli, store, Hong-Kong, China (2002) Mikli, store, Marunouchi, Tokyo, Japan (2001) Mikli, store, Düsseldorf, Germany (2001) Clift, hotel, San Francisco, United States (2001) Hudson, hotel, New-York, United States (2000) Sanderson, hotel, London, Great Britain (2000) Bon, restaurant, Paris, France (2000) Mikli, store, Paris, France (1999) Saint Martin’s Lane, hotel, London, Great Britain (1999) Mondrian, hotel, Hollywood, United States (1997) Asia de Cuba, restaurant, New York, United States (1997) Placido Arango, private house, Madrid, Spain (1996) Mikli, store, Minami Aoyama, Tokyo, Japan (1995) Delano, hotel, Miami, United States (1995) Peninsula, hotel, Hong Kong, China (1994) Groningen, museum, Groningen, Holland (1993) Salone Coppola, beauty salon, Milan, Italy (1992) Hugo Boss, store, Paris, France (1991) Teatriz, restaurant, Madrid, Spain (1990) Paramount, hotel, New York, United States (1990) Asahi, beer hall, Japan (1990) Royalton, hotel, New York, United States (1988) La Cigale, theater, Paris, France (1988) Mystique, café, Tokyo, Japan (1988) Manin, restaurant, Tokyo, Japan (1987) Puzzle, snack bar, night-club, Paris, France (1987) Jouets & Cie, store, Paris, France (1986) Creeks, store, Paris, France (1986) Theatron, restaurant, Mexico, Mexico (1985) Le Moult, private house, Issy-les-Moulineaux, France (1985 - 1987) Le Peninsula, hotel, Hong Kong (1984) Costes, café, Paris, France (1984) Le Palais de l'Elysée, private apartments under François Mitterrand’s presidency, Paris, France (1983 - 1984) Starck Club, club, Dallas, United States (1982) Les Bains Douches, club, Paris, France (1978) La Main Bleue, club, Paris, France (1976) YOO Quito, Yoo Cumbaya, Ecuador (2015) Quito, Yoo Quito, Ecuador (2015) Moscow, Yoo Dihanie, Russia (2015) Lima, Malecon by yoo, Perou (2015) Limassol, Yoo Limassol, Cyprus (2014) Istanbul, G By yoo, Turkey (2014) St Petersbourg, Leontievski Mys, Russia (2014) Montréal, Canada (2014) Wollerau, Yoo Wollerau, Switzerland (2013) Mumbai, Lodha Evoq, India (2012) Istanbul, Yoo Istanbul, Turkey (2012) Singapore, iLiv@Grange, Singapore (2010) Pune, Yoo Pune, India (2010) Buenos Aires, Nordelta, Argentina (2010) Berlin, Yoo Berlin, Germany (2010) Moscou, Barkli Park, Russia (2010) Manille, Acqua Iguazu, Philippines (2010) Puerto Vallarta, Icon Vallarta, Mexico (2010) Dubai G-Tower, Dubai, United Arab Emirates (2008) Panama City, Panama (2008) New-York, Dwell 95, USA (2008) Punta del Este, Uruguay (2007) New-York, Grammercy, USA (2007) Munich, Germany (2007) Toronto, 75 Portland, Canada (2006) Miami, Icon Brickell, USA (2006) Hambourg, Germany (2006) Dallas, USA (2006) Copenhagen, Denmark (2006) Phuket, Cap Yamu, Thailand (2006) Boston, Parris Landing, USA (2006) Boston, D4, USA (2005) Miami, Icon South Beach, USA (2004) New York, Downtown-Broad Street, USA (2004) Hong Kong, JIA Hotel (2004) Melbourne, Tribeca, Australia (2004) Sydney, Yoo Meta, Australia (2004) Tel Aviv, Yoo Tel Aviv, Israel (2004) London, Yoo NW8, UK (2001) Current Architecture Projects M Social, hotel, Singapour Château Les Carmes Haut-Brion, Winehouse, Bordeaux France Ha(a)ïtza, hotel, Pyla, France Hotel, Metz, France Hotel de la Poste, Paris, France Villa M, medical center, Paris, France SLS New York, USA SLS Seattle, USA SLS Philadelphia, USA Design / Dates are creation dates Furniture Lady Hio, dining table, Glas Italia (2014) Generic.
A, chair, Kartell (2014) Generic.C, chair, Kartell (2014) Blast, coffee table, Kartell (2014) Airway, swing, Kartell (2014) Wow, sofa, Driade (2014) Lou Think, armchair, Driade (2014) Lou Eat, dining armchair, Driade (2014) Cinemascope, armchair, Driade (2014) Volage EX-S, sofa, Cassina (2014) Passion, chair with new finishings, Cassina (2014) Caprice, chair with new finishings, Cassina (2014) Boss Boss, home office chair, TOG AllCreatorsTOGether (2013) Maria Maria, chair, TOG AllCreatorsTOGether (2013) Oca Puccino, table, TOG AllCreatorsTOGether (2013) Rita Veld, armchair, TOG AllCreatorsTOGether (2013) Sir Gio, dining table, Kartell (2013) Uncle Otto, ottoman, Kartell (2013) Stanley, director’s chair, Magis (2013) Boxinbox, glass storage collection, Glas Italia (2013) Anton Ho, chair, TOG AllCreatorsTOGether (2012) Diki Lessi, chair, TOG AllCreatorsTOGether (2012) Ema Sao, chair, TOG AllCreatorsTOGether (2012) Joa Sekoya, chair, TOG AllCreatorsTOGether (2012) Jono Pek, chair, TOG AllCreatorsTOGether (2012) Light Rock, armchair, TOG AllCreatorsTOGether (2012) Misa Joy, chair, TOG AllCreatorsTOGether (2012) Oka Chic, armchair and sofa, TOG AllCreatorsTOGether (2012) San Jon, armchair, TOG AllCreatorsTOGether (2012) Madame, armchair, Kartell (2012) The Lake, coffee table, Kartell (2012) Ding Dong, glass domes, Kartell (2012) Time Less, clock, Kartell (2012) Broom, high stool, Emeco (2012) Big Will, table, Magis (2011) Calippo, table, Magis (2011) Arak, chair, Kartell (2011) Aunt Jamy, table, Kartell (2011) Aunt Maggy, console table, Kartell (2011) Uncle Jack, sofa, Kartell (2011) Uncle Jim, armchair Kartell (2011) Uncle Jo, chair, Kartell (2011) Rayn, exterior furniture, Dedon (2011) My World, sofa, Cassina (2011) Cristal Supper, table, Baccarat (2010) Play Dinning, table, Dedon (2010) Broom, chair, Emeco (2010) S.
S.S.S Sweet Stainless Steel Stool, stool, Magis (2010) Laurie Sings, chair, Driade (2010) Zartan W, in wood, chair, Magis (2010) Zartan F, in linen, chair, Magis (2010) Zartan, chair, Magis (2009) Lou Read, armchair, Driade (2009) Tan, chair, Dedon (2009) Miss Less, chair, Kartell (2009) One More, chair, Kartell (2009) One More Please, chair, Kartell (2009) To T’aime, hanger and table, Alias (2009) Play with Dedon, exterior furniture, Dedon (2008) Pipe, chair, Driade (2008) Top collection, table collection, Kartell (2008) Magic Hole, exterior furniture, Kartell (2008) Super Impossible, chair, Kartell (2008) Ring, chair, Driade (2007) Out In, sofa, Driade (2007) Ghost Buster, nightstand table, Kartell (2007) Masters, chair, Kartell (2007) Robinwood collection, chair, Sutherland (2006) Peninsula, chair, XO (2006) Tronc, table, XO (2006) St Ethic, chair, XO (2006) Mister Knorr, stool, XO (2006) Mister Bliss, stool, XO (2006) Miss T, stool, XO (2006) Mi Ming, chair, XO (2006) Bubu II, stool, XO (2006) Bon Pure White, chair, XO (2006) Bon, foldable chair, XO (2006) L’Oreille qui voit, mirror, XO (2006) Holly All, vase chair, Serralunga (2006) Dr.
Yes, chair, Kartell (2006) Hi Cut, chair, Kartell (2006) Pipe, table, Driade (2006) Pipe, chair, Driade (2006) Moore, chair, Driade (2006) Monseigneur, chair, Driade (2006) Privé, sofa, Cassina (2006) Baobab, desk, Vitra (2005) Mr Impossible, chair, Kartell (2005) Frame, shelf, Driade (2005) Frame, table, Driade (2005) Miss Lacy, chair, Driade (2005) Lago, chair, Driade (2004) One Café, table, Driade (2004) Royal T, stool, Kartell (2004) Chicos, stool, Kartell (2004) Icon, chair, Emeco (2004) Bubu, stool, XO (2004) Bonze, stool, XO (2003) Lili-Brary, shelf, Kartell (2003) Topcut, table and chair, Kartell (2003) TopTop, table, Kartell (2003) Victoria Ghost, chair, Kartell (2003) Mademoiselle Pol, chair, Kartell (2003) Lago, chair, Driade (2003) Bon, rocking chair, XO (2002) Bon, chair, XO (2002) Couture, chair, XO (2002) Objet Perdu, chair, Driade (2002) Lorenzo le Magnifique, chair, Driade (2002) Oscar Bon, chair, Driade (2002) Henry Ghost, shelf, Kartell (2002) Francois Ghost, mirror, Kartell (2002) Charles Ghost, stool, Kartell (2002) Edward Ghost, table, Kartell (2002) Miss, sofa, Cassina (2002) Starck tables, table, Emeco (2001) Meet Kong, chair, Emeco (2001) Cafe Table, dining table, Emeco (2001) Saint Ethic, chaise, XO (2001) Miniscool, chair and table, XO (2001) Mademoiselle, chair, Kartell (2001) Marie Antoinette, table, Kartell (2001) Night and Day, bed, Descamps (2000) Loulou, chair, Vitra (2000) Ethno plastic stool, stool, Target (2000) Cosy chair, chair, Target (2000) Bo, chair, Driade (2000) Soft Egg, chair, Driade (2000) Strange Thing, sofa, Cassina (2000) Tooth, stool, XO (2000) Bubu, stool, XO (2000) Zbork, chair, Kartell (2000) Ploof, sofa, Kartell (2000) Louis Ghost, chair, Kartell (2000) T-Table, table, Kartell (1999) The Club, chair, XO (1999) Hula Hoop, chair, Vitra (1999) Cam el Eon, chair Driade (1999) Jelly Slice, table, Driade (1999) Flat Egg, Table, Driade (1999) Toy, Table, Driade (1999) Small Nothing, armchair, Driade (1999) La Bohème, stool, Kartell (1999) Eros, chair, Kartell (1999) Bubble, table, Kartell (1999) Bubble Club, chair, Kartell (1998) Attila, Napoleon, Saint Esprit, stool and coffee table, Kartell (1998) Héritage, chair, Emeco (1998) Hudson, chair, Emeco (1998) Neoz, console, Driade (1998) Lavaggio classic, Paris Presence by Maletti Group (1997) Lavaggio modern, Paris Presence by Maletti Group (1997) Poltrona modern, Paris Presence by Maletti Group (1997) Poltrona classic, Paris Presence by Maletti Group (1997) Mensola, Paris Presence by Maletti Group (1997) Sumo table, bookrack, Taschen (1997) Cam el Eon, chair, Driade (1997) Gelly, table, Fiam (1997) Gelly, nightstand, Fiam (1997) Caadre, mirror, Fiam (1997) Neoz, kitchen, Driade (1997) Slik Slik, chair, XO (1997) Big Nothing, chair, Driade (1997) Sœur Marie, bed, Cassina (1997) Frère Jacques, bed, Cassina (1997) Petit frère Jacques, day bed, Cassina (1997) Soeur Jeanne, bed, Cassina (1997) Lazy Working Bed, bed, Cassina (1997) Lazy Working Sofa, sofa, Cassina (1997) Toy, chair, Driade (1997) Lord Yi, table, Driade (1996) Os, shelf, XO (1996) M.
T, table Cassina (1996) Miss Coco, chair, Cassina (1996) La Marie, chair, Kartell (1996) Cheap Chic, table, XO (1996) Neoz, bed, Driade (1996) Neoz, sofa, Driade (1995) Neoz, coffee table, Driade (1995) Neoz, chair, Driade (1995) Neoz, stool, Driade (1995) Neoz, table, Driade (1995) Claudia Evangelista, newspaper racks, Kartell (1995) Cheap Chic, chair, XO (1994) Monsieur X, deck chair, XO (1994) Monsieur X, rocking chair, XO (1994) Ceci n’est pas une brouette, chair, XO (1994) Peninsula, chair, XO (1994) Dr No & Dr Na, table and chair, Kartell (1994) Prince Aha, stool, Kartell (1994) Miss Trip & Miss Trap, table and chair, Kartell (1994) Lundi Ravioli, chair, XO (1993) Bo boloo, table, XO (1993) Vouwwanden, handle, Winia (1992) Dr Oola, table, Vitra (1992) BOOOx, wardrobe, Kartell (1992) Oly Tango, chair, Driade (1992) Lord Yo, chair, Driade (1992) Dadada, stool, XO (1991) Miss Lee, table, Driade (1991) Popopo, vase, XO (1991) Cam el Eon, table, Driade (1990) Mrs.
Frick, chair, Disform (1983) Pat Conley I, chair, XO (1983) Titos Apostos, table, Driade (1983) Tippy Jackson, table, Driade (1983) Illusion, table, Fiam (1983) Mickville, chair, Driade (1983) Sarapis, high stool, Driade (1983) Mrs Frick, chair, Disform (1983) Pat Conley I, chair, XO (1983) Ara, stool, VIA (1983) Pratfall, chair, Driade (1983) Costes, chair, Driade (1983) Von Vogelsang, chair, Driade (1983) Dr.
Taylor, sofa, 3 Suisses (1983) Chair for the Parc de la Villette (1982) Al Hammond, shelf, VIA (1982) Ray Noble, shelf, VIA (1982) Miss Beason, chair, 3 Suisses (1982) Fred Zafsky, 3 Suisses (1982) Joe Ship, table, 3 Suisses (1982) Richard III, chair, Baleria (1982) M. President, table, Baleria (1982) Coffee table, Costes, table Baleria (1982) Starck chair, chair, Baleria (1982) Jim Hunter, chair, Special Edition (1981) Nina Freed, table, 3 Suisses (1981) Dr.
Sonderbar, chair, XO (1981) Chambre Madame, chair, prototype (1981) Joe Ship, table, 3 Suisses (1980) Zero collection, chair, prototype, VIA (1980) Mister Bliss, stool, XO (1980) Miss Wirt, chair, VIA (1980) Miss Dorn, chair, VIA (1980) Dole Melipone, table, XO (1979) Mac Gee, bookshelf, Starck Product (1977), Baleria Italy (1982) Mr Von Vogelsang, sofa, Starck Product (1977) Dr. Bloodmoney, chair, Starck Product (1977) Francesca Spanish, chair, Starck Product (1977), Baleria Italy (1982) John lld, shelf, Starck Product (1975) Joe Miller, chair, VIA (1970) Prototype, chair, Cardin (1969) Crisis collection, chair, prototype (1965) Industrial Design High-tech Wistiki by Starck, individual locator device (2013) Zik 3, headphones, Parrot (2013) Zik Sport, headphones, Parrot (2013) Speedlab bio & Speedlab cube, Speedlab by Starck, photo printing terminal (2012) Zik 2.
0, headphones, Parrot (2012) Ideas Box, multimedia libraries in kit form, Libraries Without Borders (2011) Netatmo by Starck, thermostat, Netatmo (2011) Blade Runner, hard drive, Lacie (2011) Navigo, public transportation pass, STIF (2011) Zik, headphones, Parrot (2010) Photomaton, Photomaton by S+ARCK (2008) Freebox Revolution, internet modem, Free (2008) Tic Tac, clock, Kartell (2008) Zikmu, in colors, wireless speakers, Parrot (2008) Individual windmills, Pramac (2008) Hard drives, LaCie (2007) Zikmu, wireless speakers, Parrot (2007) Optical Mouse by Starck, optical mouse, Microsoft (2002) Weather station, Oregon Scientific, (2001) Bathroom Radio, Princess (2000) Shaver, Princess (2000) Electric toothbrush, Princess (2000) Interdental electric brush, Princess (2000) Scale, Target (2000) Curling iron, Princess (2000) Hairdryer, Princess (2000) Baby bottle warmer, Target (2000) 900 MHz baby monitor, Target (2000) Water Fountain, Paris (1997) RT201, clock radio, Thompson (1997) Watch, Seven Eleven (1996) Alarm clock, Seven Eleven (1996) Euro converter (1996) Boa, stereo FM radio, Saba (1994) Krazy Jacket, nylon sound jacket, Saba / Adidas (1994) Bi-column TV, TV (1994) Vertigo, video player, Saba (1994) To Yoo, phone, Thomson / Alessi (1994) La la la, radio, Thomson (1994) Toccata, CD player, Telefunken (1994) Street Master, FM radio, Saba (1994) Rock'n'Rock, micro hi-fi, Telefunken (1994) Poe, radio, Thomson / Alessi (1994) Pala Pala, digital answering machine, Thomson (1994) Personal, portable videophone, Telefunken / Hermes (1994) Partoo, portable TV, Saba (1994) Ola, monobloc phone, Thomson (1994) Moosk, radio, Thomson / Alessi (1994) Lux Lux, 16: 9 TV Pal Plus, Telefunken (1994) Hook, phone, Thomson / Alessi (1994) Ego, DVD video player, Telefunken (1994) Cube, LCD projector, overhead projector, Thomson (1994) Coo Coo, clock radio, Alessi (1994) Babel, tower multimedia video, Thomson (1994) Alo, voice-activated phone, Thomson (1994) Plasmaa, slim TV, Nordmende (1993) Ici Paris, clock radio with digital tuner and three memories, Telefunken (1993) Don'O, radio and tape player, Thomson (1993) Aloo, phone with voice command, Thomson (1993) Speaker, Thomson (1993) Video player, Saba (1993) Video player, Thomson (1993) Video player, Telefunken (1993) TV, Telefunken (1993) TV, Saba (1993) TV, Thomson (1993) Remote control, Telefunken (1993) Comboo, TV and CD player combined Nordmende (1993) Bicolor M5116F TV Screen, screen, Saba (1993) Radio, Thomson (1993) Oye Oye, portable FM radio, Saba (1992) Zeo TV, portable TV, Thomson (1992) Bi-column TV T7049 SLT, TV, Saba (1992) 14''TV, Thomson (1992) Speakers, Thomson (1992) Remote control, Nordmende (1992) Oz TV, Telefunken (1992) Moa Moa, radio, Saba (1992) Jim Nature, portable television, Saba (1992) M 5107, remote control, Saba (1992) K1, hard drive, D2 (1989) Espresso machine (1988) Walter Wayl II, wall clock, Alessi (1987) Walter Wayl I, wall clock (1985) Don Quichote, wall clock, Spiral (1983) Bathroom Cape Cod, Duravit (2013) Me by Starck, Duravit (2013) Axor Starck V, Axor (2012) Axor Starck Organic, Axor (2010) SensoWash, Duravit (2009) Axor Starck X, Axor (2002) Bath towel, Target (2000) Soap Dispenser, Target (2000) Soap dish, Target (2000) Excalibur, Axor (1994) Excalibur, Excalibur, toilet brush, Heller (1994) Axor Starck, Axor (1992) Bathroom, Duravit, Hansgrohe, Hoesch, Axor (1992) Toothpaste distributor, Fluocaril (1987) Toothbrush and base, Fluocaril (1987) Kitchen & tableware Gorenje by Starck, Kitchen appliances, Gorenje (2013) Juicy Salif Bronze, limited edition, Alessi (2013) Lame d’Eau, water jug, Fondation France Libertés (2012) Log, knife, Laguiole, (2010) Kitchens, Warendorf (2009) Briccole, plate, Venise (2008) Disposable trays, IPI (2005) Lux, disposable tableware, IPI (2003) Dark Side, black cristal glass collection, Baccarat (2003) Disposable knife, IPI (2001) Food containers, Target (2000) Miam Miam, dishes, Driade (2000) Cup, Target (2000) Juicy Salif Gold, limited edition, Alessi (1998) Plastic case for Visionnaire magazine (1997) Ceci n’est pas une truelle, pie server, Alessi (1996) Boaat 2-5, kitchen box, Alessi (1996) Arbratoo, little tree cutlery holder, Alessi (1994) Les Ministres, table center, Alessi (1994) Faitoo, ustensiles de cuisine, Alessi (1994) Dédé, door stop, Alessi (1994) Mister MeuMeu, cheese holder and grater, Alessi (1991) Hot Fredo, Thermos bottle, Alfi (1991) Ti Tang Su Mi Tang, teapot, creamer and sugar, Alessi (1990) Voilà Voilà, tray, Alessi (1990) Jojo Long legs, cheese knife, Laguiole (1989) Hot Bertaa, kettle, Alessi (1988) Juicy Salif, lemon squeezer, Alessi (1988) Max le Chinois, drainer, Alessi (1988) Smoki Christiani, corkscrew, O.
W.O. / Alessi (1984) Laguiole Knife, clasp-knife, Laguiole (1984) Set Laguiole, 6 table knives, Laguiole (1984) Objets Pointus, cutlery, O.W.O. (1984) Home & Office Anger, mirror, Kartell (2014) Only Me In The Light, mirror, Kartell (2013) Elise, ecologic paper bin, Elise (2010) Archive, locker, Kartell (2010) Ice, locker, Kartell (2010) Bar, weight bracelet for neck and arm, base, Alias (2009) Mrs.
Flower Power, vase, Kartell (2005) Box handkerchief, Target (2000) Tunnel tent, Target (2000) Document holder, Target (2000) Bin, Target (2000) CD Container, Target (2000) Mail sorter, Target (2000) Scissors, Target (2000) Paper knife, Target (2000) Rotating pencil, Target (2000) Pencil box, Target (2000) Press book, Target (2000) Bin mail, Target (2000) Desk organizer, Target (2000) Stapler, Target (2000) Newspaper rack, Target (2000) Tape dispenser, Target (2000) Dr.
Skud, fly swatter, Alessi (1996) Refillable lighter, Seven Eleven (1996) Cutter delivered, Seven Eleven (1996) Scissors, Seven Eleven (1996) Notebook, Seven Eleven (1996) Tape dispenser, Seven Eleven (1996) Eraser, Seven Eleven (1996) Charging mines, O.5 HB, Seven Eleven (1996) Propelling pencil, Seven Eleven (1996) Fluorescent markers, Seven Eleven (1996) Pencil, Seven Eleven (1996) Ballpoint pen, Seven Eleven (1996) Dédé, close door, Alessi (1994) Liberté, box for objects, Alessi (1994) Gerome, vase, Driade (1990) Vase Mendini, porcelain vase with lid, Alessi (1988) Miss Donna, mirror, O.
W.O. / Alessi (1985) Sesamo, door handle, Kleis (1989) Apriti, door handle, Kleis (1989) PS2, door handle, FSB (1989) PS1, door handle, FSB (1989) Door Handle, door handle, FSB (1989) Pour la vie, flower vase, O.W.O. / Alessi (1988) Joe Cactus, ashtray, O.W.O. / Alessi (1988) Shark, picture frame, L’Oréal (1987) Luciana Fortyfour, candlelight, O.W.O. / Alessi (1986) O’Kelvin, table candlestick, O.
W.O. / Alessi (1986) Vases, Daum (1986) Joe Raspoutine, wall candlestick, O.W.O. / Alessi (1985) Falstaf, handle, Alessi (1987) Chab Wellington, rack, O.W.O. / Alessi (1985) Mini Bayou, cupboard handles, O.W.O. / Alessi (1985) Berta Youssouf, card holder, O.W.O. / Alessi (1985) Picfeu, tisonnier, O.W.O. / Alessi (1984) Ray Hollis, ashtray, XO (1984) Good Goods Good Goods, La Redoute catalog (1996-1997) Body Ipanema with Starck, sandals, Ipanema (2013) Starck Eyes, eyewear, Luxottica (since 2013) Cashmere clothing, Ballantyne (2009) L'air du temps, perfume, Nina Ricci (2008) Home Gym Office, sport equipments for home and office, Alias (2007) Richard Mille by Starck, watch, Richard Mille (2005) Watch, Fossil (2005) Watch, Fossil (2004) Starck naked, underwear, Puma (2004) Shoes, Puma (2002) Wrist watch, Fossil (2002) Pendant watch, Fossil (2001) Watch, Fossil (2001) Pendant watch, Fossil (2001) Ring watch, Fossil (2001) Bathrobe, Descamps (2000) Bath towel, Target (2000) Toothbrush and base, Target (2000) Watch, Fossil (1999) Poaa, weight scale, XO (1997) Dr.
Kleen, toothpick (1996) Dr. Cheese, interdental brush (1996) Dr. Spoon, spatulas cure Ears, Alessi (1996) Hairbrush, Seven Eleven (1996) Toothbrush, Seven Eleven (1996) Political T-shirt, NC (1995) Starck Naked, nylon clothing, Wolford (1995) Wet Ghost, long raincoat, K-Way (1995) Wet Angel, long raincoat, K-Way (1995) Wet Duke, waterproof jacket, K-Way (1995) Wet Prince, waterproof coat, K-Way (1995) Wet Lord, waterproof jacket, K-Way (1995) Starck Eyes, eyewear, Alain Mikli then Luxottica (since 1994) Nutrition Brut Nature 2006, champagne, Maison Roederer & Starck (2012 WAHH (2010) Feuille d’eau, water bottle, Fondation France Libertés (2008) LA Organic, organic olive oil, LA (2004) La Bûche Starck, Lenôtre (2004) 1664, beer bottle, Kronenbourg (2002) OAO Organic, organic food (1996) St Georges, bottle of mineral water, St Georges (1995) Pasta, Panzani (1994) Bottle of mineral water, Vittel (1984) Children’s Tip Top, children table, Kartell (2014) Alfie Funghie, furniture for children TOG AllCreatorsTOGether (2012) Le Chien Savant, children desk, Magis (2011) Loulou Ghost, children chair, Kartell (2006) Baby travel chair, Mac Laren (2004) Travel cradle, Mac Laren (2004) Pushchair, Mac Laren (2004) Diaper bag, Mac Laren (2004) TeddyBearBand, teddy bears, Moulin Roty (2003) Patastarck, plastic toy (2001) Baby carrier, Target (2000) Diaper bag, Target (2000) Vehicle for children, Target (2000) Small tent for children, Target (2000) Great tent for children, Target (2000) Bowl for babies, Target (2000) Bottle with soft spout, Target (2000) Bottle brush, Target (2000) Biberon, Target (2000) Fork and spoon for babies, Target (2000) Potties, Target (2000) Toothbrush for children, Seven Eleven (1996) TeddyBearBand, teddy bears, Moulin Roty (1996) The Face, vehicle for children, Big (1995) Luggage Starcktrip, Delsey by Starck (2012) Samsonite by Starck (1998) Attaché case, Louis Vuitton (1988) Others Speetbox by Starck, heating furniture, Speeta – Groupe Seguin (2013) Bacacier by Starck 3S, Bacacier (2011) Flexible Architecture, Ceramica Sant’ Agostino (2010) Le Grand Larousse illustré, encyclopedic dictionary, Larousse (2003) Ultime Franc, Monnaie de Paris (1999) Ecu, currency, projet (1994) Olympic Flame, Olympic Winter Games Albertville (1990) Lamps Baby Our Fire, candle holder, Baccarat (2013) Bon Jour, lightning collection, FLOS (2013) Les Esprits, ceiling light, Baccarat (2012) Kiki le Cube, Flos (2011) A4 Light, Flos (2011) Chapo, Flos (2011) Zenith sur la lagune, Baccarat (2011) Zenith le samedi, Baccarat (2011) Zenithal, Baccarat (2011) Personne à la fenêtre, Baccarat (2011) Harcourt Marie Louise, Baccarat (2011) Abbracciaio, candlestick, Kartell (2010) D’E-light, Flos (2009) Bibliothèque Nationale, Flos (2009) Reflect 299, Flos (2009) Hide, Flos (2009) Marie Coquine, Baccarat (2009) Play with Dedon, Dedon (2008) Oled, Flos (2008) Haaa, Flos / Baccarat (2007) Hooo, Flos / Baccarat (2007) K Ray, Flos (2007) La Vie, Flos (2003) Collection Dark Side, light, Baccarat (2003) Gun Lamp, lightning collection, Flos (2003) Long & Hard, Flos (2003) Pandora Book, Flos (2002) Fort Knox, Flos (2002) Romeo Hot Hot, Flos (2001) Miss K, Flos (2001) Romeo Louis, Flos (2001) Lighting Table, Target (2000) Table lamp, Target (2000) Superarchimoon, Flos (1998) Magic Slabe, Flos (1998) Cicatrices de Luxe, Flos (1998) Archimoon, Flos (1996) Oa, Flos (1994) Romeo Babe, Flos (1993) Romeo Moon, Flos (1993) Walla Walla, Flos (1992) Rosy Angelis, Flos (1992) Light Lite, Flos (1990) Doctor Life, Flos (1989) Miss Sissi, Flos (1988) Luci Fair, Flos (1987) Ara, Flos (1986) Ray Menta (1985) La Lune Sans Le Chapeau, 3 Suisses (1984) Roi Egon Groat, 3 Suisses (1983) Sandy Jesperson, 3 Suisses (1983) Tamish, 3 Suisses (1982) Soudain le sol trembla, Drimmer (1979) Easy Light, Electrorama (1977) Stanton Mick, Electrorama (1977) Flying Lamp (1970) Vehicles M.
A.S.S. – Mud, Asphalt, Sand, Snow, e-bikes, Starckbike with Moustache (2012) V+, electric car, Volteis (2010) Pibal, scooter-bicycle, with Peugeot for Mairie de Bordeaux (2010) Kawazaki W800, motorbike, Kawazaki (2009) H+, catamaran, Hobie Cat (2009) Venus, mega yacht (2008) Super Naked Xv, motorbike, Voxan (2005) A, mega yacht (2004) Wedge II, yacht (1998) X3, motorbike, Aprilia (1998) Kayak, Rotomod (1996) Ara III, boat (1994) X-Ray, motorbike, projet, Aprilia (1994) Toto la toto à toto, car, project (1994) Plywood Car, project (1994) Virtuelle, sailing boat (1993) 6.
5, motorbike, Aprilia (1989) Lama, scooter, Aprilia (1986) First, sailing boat, Beneteau (1984) Current Design Projects H+, Hydrogen Car Cannes Ergonomiques Artistic Direction Artistic Director of Europa Nova Conferences, Paris France (2013) Ambassador of Creativity and Innovation for the European Year (2009) Artistic Director of the French Presidency of the European Union (2008) Logo of the City of Venice Trophy 4 screens Festival Virgin Galactic (2006-2007): Art director of the project of democratization of space tourism, design of the rocket and the spaceport in New Mexico Eurostar (2001) Group Thomson Multimedia (1993-1996) representing the RCA brand, Normende, Saba, General Electric, Thomson, Telefunken, Ferguson, Brandt Schools School of Pure Creativity (2012) Professor La Domus Academy, Milan, Italie L'Ecole Nationale des Arts Décoratifs, Paris, France Conferences D&AD, Notes From Elsewhere, London, UK World Business Forum, Provocateurs, New York, USA 100% DESIGN, London Monaco Yacht Summit, Monaco C2MTL, Montréal, Canada IHT, Paris, France Super Yacht Design Summit, Nederland USI, France Bilbao Bizkaia Concept Design Festival ‘B Awards’, Spain The INK Conference in Association with TED, India BIO 22 Fair, Ljubljana, Slovanie TED, Monterey, USA Financial Times Business of Luxury Summit, Venise, Italy Institut Français de la Mode, Paris, France French American Fondation, Paris, France Exhibitions Centre Georges Pompidou (February 2003) Vanity Case, travelling exhibition (1997 Barcelona, Glasgow, Helsinki - 2002 Moscow, Turin, Warsaw) Guggenheim, New York, USA (2000) Vitra Design Museum, Basel, Switzerland Design Museum, London, UK Museum of Modern Art, New York, USA Museum of Modern Art, Kyoto, Japan Museums in Munich, Frankfurt, Dusseldorf, Germany Villa Medici, Rome, Italy Musée des Arts Décoratifs, Paris, France Awards & Honors Red Dot Best of the Best award 2016, Kartell Uncle Jack sofa (2016) Salon Batimat 2015 Award, Gold Award Bathroom section, Axor Starck V (2015) Google Impact Challenge, Jury Award, Ideas Box (2015) Innovation Award – Gold), Salon Idéobain, Axor Starck V (2015) German Design Award, Axor Starck 25 years (2015) Red Dot, Communication Award, Axor Starck 25 years (2015) DDC Award « Good Design, Axor Starck 25 years (2015) International Publication Competition ‘’Berliner Type’’, Axor Starck 25 years (2015) BePositive 2015, FLAM’EXPO Award de l’innovation (2015) Elle Decor International Design Award EDIDA, Bathroom category, Axor Starck V, 2015 Wallpaper* Design Award, Best Domestic Design category, Axor Starck V, 2015 Grand Prix de l’e-réputation France (2014) Label Leading Spa awarded by Leading Hotels of the World, Spa Royal Monceau (2014) “The Best New Hotels”, Travel & Leisure USA Hot List 2014, Mama Shelter Istanbul (2014) CES Innovations Design and Engineering Awards, Thermostat Netatmo (2014) Prix des Artistes of the Excellence Française (2013) Special Award, BFM Awards (2013) Grand Prix de l’e-réputation France (2013) Favorite award of the jury, Pyramides de Vermeil, Le Nuage (2013) « World's Greatest Hotels 2013 » Travel + Leisure, Mama Shelter Marseille (2013) « Best Hotels in the World » CondéNast’s 2013 HOT LIST , SLS South Beach (2013) "Red dot best of the best" award, Axor Starck Organic (2013) The 10 most beautifully designed new restaurants, AD New York, Ma Cocotte (2013) Pyramide de l’innovation, prix projet « Coup de Cœur », Le Nuage (2013) Best Luxury Residential Design, Lodha Evoq project in Mumbai (2013) Good Design Award 2012, Miss Less, Kartell (2013) Conception, Elise (2012) Lieu de l’année, AJT, Mama Shelter Marseille (2012) Prix du Public, salon 1.
618, V+ Volteis (2012) Best of CES, Tom’s Hardware & Tom’s Guide, Zik Parrot (2012) CES Hot Stuff Award, Stuff Award, Stuff Magazine, Zik Parrot (2012) Product of the Future, Popular Science, Zik Parrot (2012) 8 Meilleurs Hotel en France par Frommer, Mama Shelter (2011) Die 100 besten Hotels in Europa by Géosaison Award, Mama Shelter (2011) 50 best Hotels in Europa by The Sydney Morning Herald, Mama Shelter (2011) Best Pool Design - Icon Vallarta(2011) Best Interior Design (India) – yoo Pune (2011) Best Marketing Campaign (India/designed by yoo) - yooPune (2011) Best Website Design (India/designed by yoo) - yooPune (2011) Best Overall Development - yooPune (2011) GOOD DESIGN - Green Product - Awards, Play with Dedon (2011) Award Visionary Artist, 25 Anniversario Elle, Spain (2011) Asia Pacific Property Awards in association with Bloomberg Television, YOOPune et The Beach (2011) Designpreis Deutschland, Fletco (2011) Interior Design Award, Fletco (2011) # 1 Business hotel in Europe by CNBC Business, Mama Shelter (2010) Red dot award: product design, textile and textile flooring category, Fletco (2010) BEST HOTEL UNDER 100 EUROS, Mama Shelter (2010) Good Design Award, The Chicago Athenaeum Museum for Starck K Kitchen Sink (2009) The Bazaar by Jose Andres Los Angeles Times Restaurant Review : Four Stars (2009) The Bazaar by Jose Andres New York Times ‘Outstanding Newcomer’ (2009) The Bazaar by Jose Andres Travel + Leisure ’50 Best New Retaurants’ (2009) The Bazaar by Jose Andres James Beard Foundation Awards ‘Best New Restaurant’(2009 Finalist) The Bazaar by Jose Andres James Beard Foundation Awards ‘Outstanding Restaurant Design’ (2009 Finalist) SLS Hotel at Beverly Hills Travel + Leisure ‘It List’, ‘Best New Hotels’ (2009) SLS Hotel at Beverly Hills Angeleno Magazine ‘America’s Hottest New Hotels’ (2009) SLS Hotel at Beverly Hills HotelChatter.
com ‘Best Geek Hotels’ (2009) SLS Hotel at Beverly Hills Conde Nast Traveller (UK) Innovation & Design Awards (2009) (Moss at SLS) SLS Hotel at Beverly Hills Wallpaper Best Business Hotels (2009) SLS Hotel at Beverly Hills Virtuoso Best of the Best Awards ‘Best Achievement in Design’ (2009) SLS Hotel at Beverly Hills Virtuoso Best of the Best Awards ‘Best Bar’ (2009 Finalist) The Bazaar by Jose Andres Restaurant of the Year in Esquire’s November issue (2009) Mama Shelter N'1 Business Hotel en Europe pour 2009 par CNBC SLS One of the best 50 best Business Hotels in the World by Wallpaper (2009) Lifetime Achievement Award, The Designer magazine (2009) Conde Nast Traveller Technology award for Zikmu Parrot (2009) Conde Nast Traveler Hot List Spa for Ciel (2009) Conde Nast Traveler Hot List Tables for Bazaar (2009) Conde Nast Traveler Hot List Hotel for SLS (2009) Best Large Hotel Pour le Mama Shelter, Travel + Leisure (2009) A Most Innovative Yacht in Yachts France’ at the Cannes Boat Show in 2009 The Most Innovative Exterior Yacht Design of the Year 2008 pour le A lors de Asia Boating Awards Ceremony Prix global du Bluetooth SIG "Best of CES Las Vegas 2009" pour Zikmu Parrot (2009) Good Design Award from the Chicago Athenaeum for Mr Impossible chair (2008) The Fashion Group International, Inc.
honors Philippe Starck, Night of Stars (2008) Grand Prize winner, Gold Key award, Excellence in Hospitality design, Lounge / Bar , Philippe Starck and SBE for S Bar (2008) International Restaurant & Hotel Award (2008) CNBC International Property best interior design Awards (2008) CNBC International Property best architecture Awards (2008) CNBC International Property best development Awards (2008) Hospitality design award, SBar (2008) Design award, Katsuya (2008) Best project : Siemens en Award (Faena) Amongst the top new hotels in the world : Conde Nast Traveller USA (Faena) Amongst the coolest new Hotels in the world : Conde Nast Traveller UK (Faena) Amongst the 500 Best Hotels in the world : Travel + Leisure (Faena) Amongst the 10 most dramatic designs in the world : Vogue Japan (Faena) Best ambience and Design : Conde Nast Traveller UK’s Gold List (Faena) The third best Hotel Restaurant in the World : Hotels Magazine (Faena) South America’s leading suite : Faena suite Argentina’s leading suite : Faena suite ; World Travel Awards Five diamond The American academy of hospitality, Faena (2007) D&AD President Award (2006) Prix Madrid Créatividad (2006) Best ambience and design Conde Nast traveller UK’s gold list, Faena (2006) Reddot award (2006) Best new Hotel Wallpaper design award, Faena (2005) Reddot award (2005) Focus d’argent (2005) Five Star Diamond award as world best designer (2005) Best project Siemens award, Faena (2004) Lucky Strike designer award (2004) Monaco Show Boats (2003) Observeur de Design d’Etoile (2002) IF Design Award (2002) Le prix de la plus belle monnaie du monde, France (2001) Red Dot Best of the Best Award (2001) Compasso d’Oro, Italie (2001) Pratt Institute Black Alumni Award, USA (2001) Chevalier de l’Ordre National de la Légion d’Honneur, France (2000) Good Design Award (2000) German Ranking Design Award (2000) Gold ADEX (2000) Red Dot for High Design Quality (2000) IF Product Design Award (2000) Commandeur de l’Ordre des Arts et des Lettres, France (1998) Roter Punkt (1998) IF Design award (1998) Harvard Excellence in Design award, USA (1997) Design Zentrum Nordrhein-Westfalen, Germany (1995) Primero Internacional de Diseno Barcelona, Spain (1995) Design - plus (1995) Premio Internacional de Diseno (1995) Award for Highest design quality (1995) Design Preis Schweiz (1995) Trophée du design Batimat (1995) Officier des Arts et des Lettres, France (1991) Twelth Annual Interior Award (1991) Interior Architecture Award (1990) Trois prix pour les hôtels Royalton et Paramount, New York, USA (1988/1990) Grand prix national de la Création Industrielle, France (1988) Platinum Circle Award, Chicago, USA (1987) Delta de Plaia, Barcelone, Spain (1986) Trois premiers prix au Neocon, Chicago, USA (1986) Chevalier des Arts et des Lettres, France (1985) Oscar du luminaire, France (1980) Books Impression d’Ailleurs, avec Gilles Vanderpooten, ré-édition en poche, Ed.
de l’Aube (2014) Impression d’Ailleurs, avec Gilles Vanderpooten, Editions de l’Aube (2012) Bibliography and Videos ‘Will I Am 2 Starck’, Update Productions (2013) ‘Future by Starck’, Arte France, Elephant Doc (2013) ‘Starck contre Starck’, Program 33 (2008) ‘Starck’ Taschen edition (2003) ‘Le cas Philippe Starck’ Christine Bauer, éditions L’Harmattan (2001) ‘Starck’ Taschen edition (1999) ‘Starck’ Conway Lloyd Morgan, Universe Publications, edition Adam Biro for France (1999) ‘Philippe Starck Subverchic Design’ Fay Sweet, Watson-Guptill edition (1999) ‘Starck’ Taschen edition (1997) ‘L’architettura’ Franco Bertone, Octavo edition (1994) ‘Starck’ Taschen edition (1991) ‘Starck’ Christine Colin, Mardaga edition (1988) ‘Starck’ Philippe Renaud, Michel Aveline edition (1987)
Different Crucial Art Ideas have evolved complete different eras, together with the modifying artists' perceptions of processing, analyzing, and responding to varied artwork sorts. Their creative expressions have been explored by their development, overall performance, and participation in arts. Just about every historic era has provided novel contribution of historic and cultural contexts for producing the key Arts Fundamentals of your pertinent period of time. Visible Arts aid artists assimilate the crucial element Arts Ideas of Symmetry, Color, Sample, Distinction along with the variations in between 1 or even more aspects in the composition. The true secret Art Principles of Visible Arts aid realize and distinguish involving the scale like, Symmetry & Asymmetry, Positive & Negative Space, Light & Dark, Solid & Transparent, and Large & Small.See Also: Art School Raleigh Nc
Artwork plays a vibrant role from the personal life with the individual as well as while in the social and economic development in the nation. The study of Visual arts encourages personal development and also the awareness of both our cultural heritage as well as role of art in the society. The learner acquires personal knowledge, skills and competencies through activities in Visible arts. When one studies Visible arts, he/she would come to appreciate or fully grasp that art is an integral part of everyday life.
7 February to 20 May 2018 Included in group exhibition Art in the Age of the Internet, 1989 to Today at the Institute of Contemporary Art, Boston, Massachusetts. Art in the Age of the Internet, 1989 to Today examines how the Internet has radically changed the field of art, especially in its production, distribution, and reception. The exhibition comprises a broad range of works across a variety of mediums—including painting, performance, photography, sculpture, video, and web-based projects—that all investigate the extensive effects of the Internet on artistic practice and contemporary culture.
Themes explored in the exhibition include emergent ideas of the body and notions of human enhancement; the Internet as a site of both surveillance and resistance; the circulation and control of images and information; possibilities for new subjectivities, communities, and virtual worlds; and new economies of visibility initiated by social media... 19 November 2017 to 27 May 2018 Included in group exhibition The American Dream: American Realism 1945-2017 at the Kunsthalle Emden, Emden, Germany.
The double exhibition, which will take place parallel in the Drents Museum Assen (NL) and in the Kunsthalle Emden, presents American realism from 1945 to the present, including works by Edward Hopper, Andy Warhol, Alice Neel, Richard Diebenkorn, Martha Rosler, Alex Katz and Chuck Close. It is the first great overview exhibition on American realism in Europe. The Drents Museum focuses on art from 1945 to 1965, while the Kunsthalle Emden focuses on the period from 1965 to the present.
After the Second World War, the abstraction of the New York School and subsequent generations of artists symbolizes the re-emergence and an apparent de-ideologization of art in the USA. This abstraction, supported by influential art critics, is opposed to American realism, which developed parallel to it. The various currents and artistic positions of American realism play a part in the development of American art, which is only partly appreciated by the art world.
They show, for example, the real living conditions of the Americans, represent societal criticism and political positions, and focus on the human figure and human existence in the USA. 2 November 2017 to 8 April 2018 Included in group exhibition Living with gods. Peoples, places and worlds beyond at the British Museum, London, England. This exhibition will display objects that reveal the practice and expression of religious beliefs in the lives of individuals and communities through time and around the world.
It will include items relating to the great faiths, as well as indigenous, archaeological and modern civil practices. They will be presented as an important behaviour governed by the remarkable facility of the human mind to symbolize feelings, needs and worlds beyond nature by conceiving ideas and objects that express extraordinary, transcendent concepts. The narrative will also explore how the pursuit of the mystical provides individual and social identities that are emotionally sustaining but sometimes politically dangerous.
.. 12 October 2017 to 11 February 2018 Solo exhibition Good Fences Make Good Neighbors at the Public Art Fund, NYC, NY. This October, as a highlight of its 40th anniversary in 2017, Public Art Fund presents Good Fences Make Good Neighbors, a timely new exhibition across multiple boroughs by world-renowned artist Ai Weiwei. Inspired by the international migration crisis and tense sociopolitical battles surrounding the issue in the United States and worldwide, the artist has conceived of this ambitious, multi-site project as a way of transforming the metal wire security fence into a powerful artistic symbol.
By installing fences in varying, site-specific forms at locations across the city […], Ai will create striking installations that draw attention to the role of the fence as both a physical manifestation and metaphorical expression of division. In this way, he will explore one of society’s most urgent issues, namely the psychic and physical barriers that divide us, which is at the heart of debates about immigration and refugees today.
.. 7 October 2017 to 7 January 2018 Solo exhibition Has Been at Le Consortium, Dijon, France. Has Been is a selection of works created by Dutch painter Peter Schuyff between 1981 and 1991. This exhibition, organised jointly with the Consortium in Dijon, is the first retrospective look at the artist’s career. Arriving in New York in the early 1980s, Schuyff brought into play the countless stories of abstraction by drawing on a vocabulary then considered exhausted.
.. 6 October 2017 to 7 January 2018 Included in group exhibition Art and China after 1989: Theater of the World at the Solomon R. Guggenheim Museum, NYC, NY. Art and China after 1989: Theater of the World is a major exhibition of contemporary art from China spanning 1989 to 2008, arguably the most transformative period of modern Chinese and recent world history. The largest show of this subject ever mounted in North America, it offers an interpretative survey of Chinese experimental art framed by the geopolitical dynamics attending the end of the Cold War, the spread of globalization, and the rise of China.
.. 30 September 2017 to 28 January 2018 Solo exhibition at Deichtorhallen Hamburg, Hamburg, Germany. From 30 September 2017 to 28 January 2018, Deichtorhallen Hamburg is presenting an extensive survey exhibition of the work of the American painter PETER SAUL (*1934 in San Francisco, California) at the Falckenberg Collection. The exhibition will show some sixty works by this hitherto little noticed “artists’ artist”, including groundbreaking series such as his Ice Box Paintings, his comics narratives and Vietnam paintings from the 1950s and 1960s, as well as never-before-exhibited drawings and selected late works from the 1980s to the 2000s.
.. 27 September 2017 to 21 January 2018 Included in group exhibtion Trigger: Gender as a Tool and a Weapon at the New Museum, NYC, NY. The New Museum has been committed to urgent ideas since its inception, devoting many exhibitions and programs over the years to issues of representation with regard to gender and sexuality: “Extended Sensibilities” (1982), “Difference” (1984–85), “Homo Video” (1986–87), and “Bad Girls” (1994) are just four notable examples.
Following in this tradition, and in the Museum’s 40th anniversary year, “Trigger” extends the conversation around identity, considering how even a fluid conception of gender is nonetheless marked by ongoing negotiations of power and cannot be understood outside its complex intersections with race, class, sexuality, and disability. The exhibition’s title, “Trigger,” takes into account that word’s range of meanings, variously problematic and potent; the term evokes both traumatic recall and mechanisms that, set into motion, are capable of igniting radical change.
.. 27 September 2017 Review by J. Hoberman A Carnival of Desecration in NYR Daily. With his imposing paunch, outsized neckties, and pompadour as pointy as Woody Woodpecker’s beak, Donald Trump has the most recognizable profile of any American president since Richard Nixon. Yet, as a cartoonist of my acquaintance has complained, artists are having a hard time caricaturing Trump, mostly likely because he already is a caricature—one reflected in mass culture’s fun-house mirror for close to forty years.
We’re sick of Trump and we’re sick of being sick of him. Well-populated by images of the president, Peter Saul’s new show “Fake News,” at Mary Boone Gallery through October 28, is hardly a palliative, but it does illustrate the crass absurdity of the current moment. [...]Saul, now eighty-three, has been categorized as a political pop artist and a proto-punk neo-surrealist, although he has as much in common with the grotesque Mad magazine cartoonist Basil Wolverton as with any American painters.
He’s done Nixon and Reagan (both as governor and president) as well as George W. With candy colors placed in the service of gross physical distortion and blandly offensive savagery—crucifixions are common, the electric chair is a frequent prop—his unnaturally festive work would scarcely seem out of place on the wall of a Venice Beach tattoo emporium. “Not to be shocking means to agree to be furniture,” he once said.
Still, Saul’s portraits of Trump are relatively naturalistic—though the impossible settings in which the president is placed are not... 17 September 2017 Article by John Yau Peter Saul Knows What to Do with the President and a Hamburger on HYPERALLERGIC.COM. Madcap Peter Saul is our William Hogarth, Honoré Daumier, Hieronymus Bosch, and Basil Wolverton rolled into one glorious, outrageous, nutty, rambunctious painter.
Some artists get the honor of having their work displayed in the White House, but chances are Saul will never be one of them, no matter who the occupant is. You know he deserves the Presidential Medal of Freedom, but will never get it. Saul’s recurring subject is pain and abuse of all kinds — what we inflict on others and do to ourselves. It seems that the only way he can embrace these often monstrous subjects, and whatever they stir up in him, is with scandalous humor.
This is why such distinctions as tasteful and tasteless seem beside the point when looking at and thinking about Saul’s garish work, which is just one reason why he is such an important artist. He also happens to be an amazing colorist and terrific caricaturist. More than socially conscious, he is a formally inventive artist with a deep love for toppling sacred cows and pushing everyone’s buttons.
In his hands, painting and paint become a platform for preposterous visual proposals... 15 September 2017 Article by Hilary Moss Barbara Kruger Heads to Berlin, With Virginia Woolf in Tow in T/The New York Times Style Magazine. During her four-decades-long career, the conceptual artist Barbara Kruger has riffed on the words of Virginia Woolf, returning, time and again, to lines from “Mrs.
Dalloway” or “To the Lighthouse.” And for her exhibition “Forever,” opening in Berlin this weekend, Kruger plucked a quotation from Woolf’s extended essay “A Room of One’s Own,” filling an entire gallery wall with: “You know that women have served all these centuries as looking glasses possessing the magic and delicious power of reflecting the figure of man at twice its natural size.
”(Kruger appended “you know that,” for the Woolf purists out there.)... 13 September 2017 to 14 January 2018 Included in group show Delirious: Art at the Limits of Reason, 1950-1985 at the Met Breuer, NYC, NY. Delirious times demand delirious art, or so this exhibition proposes. The years between 1950 and 1980 were beset by upheaval. Around the globe, military conflict proliferated and social and political unrest flared.
Disenchantment with an oppressive rationalism mounted, as did a corollary interest in fantastic, hallucinatory experiences. Artists responded to these developments by incorporating absurdity, disorder, nonsense, disorientation, and repetition into their work. In the process, they destabilize space and perception, give form to extreme mental, emotional, and physical states, and derange otherwise logical structures and techniques.
Delirious explores the embrace of irrationality among American, Latin American, and European artists... 15 July to 2 September 2017 Included in group exhibition CUNT at Venus Over Los Angeles, Los Angeles, California. On view in the gallery is an expansive selection of work in diverse media by six artists who unapologetically create representations of female sexuality. Bound by a dedication to alter the ways in which women’s bodies are represented in both fine art and media, these artists worked independently of one another to create images that unabashedly portray the vagina as a locus of power.
The exhibition features works produced between 1964 and the present, in order to situate these artists’ practices as in part a reaction against the misogyny present in the art world in the 1960s and 1970s, as well as to celebrate the fortitude and dogged artistic activism that these artists have shared for nearly five decades... 7 July 2017 Review by Susan Morris Judith Barry's "Imagination, Dead Imagine" references horror films and J.
G. Ballard in The Architect's Newspaper. You enter a dark room illuminated only by a 10-foot-high rectangular cube comprised of four green-framed video monitors showing a face in close-up from all sides—facing forward, back of head, and both sides featuring the right and left ears (a 5th view could be seen from above, showing the top of the head), all above a mirrored surface where your reflected legs continue the bodyline.
An androgynous, blue-eyed Caucasian with very regular features, bowed lips, and dark short hair has gelatinous liquid in a succession of yellow, red, brown, milky clear, and red-turning-to-greenish-yellow with small bits of debris, all simulating bodily fluids, poured onto it from above in a wash. A crinkly digital line clears the frame between each pour. At various points, crickets crawl and eat liquid off the face.
Flaky white oats are sprinkled. Worms crawl and tumble down the face. There’s a flour snowstorm. Then the footage goes in reverses and the debris flows up. Throughout, we hear breathing sounds... 6 July to 3 September 2017 Solo exhibition Game Mechanics at Secession, Vienna, Austria. The American artist Ericka Beckman’s films and videos focus on games and sport competitions and their rules and structures, featuring the underlying playing fields as an allegory for the development and maintenance of socio-cultural norms.
In her exhibition Game Mechanics, Beckman presents the film installation You the Better (1983/2015) and her most recent film Tension Building (2016) as well as drawings. Beckman makes cinematography itself a medium of performance art in order to address fundamental questions such as the construction of movement and gestures, the regulation of space and time, and the joining of the imaginary and the real.
For the recently completed version of Tension Building, which makes its debut at the Secession, the artist has updated her filmic investigation against the backdrop of the last U.S. election to bring critical pressure to bear on the prominent role of athletics and spectacle in American culture. She created a film ending that depicts the U.S. Capitol as the final moment to the game. Beckman found this image on the Internet of the inauguration of the Harvard Stadium in 1910, which featured a model of the Capitol on the playing field.
The final image tethers the stadium to its underlying structure that engages all national, militaristic and corporate interests into play... 6 July 2017 Interview by Emily Watlington Ericka Beckman "Game Mechanics" at Secession, Vienna in Mousse Magazine. Spectacle sports have been the subject of Ericka Beckman’s work since the 1980s, but the recent US election has reemphasized their troubling place in American culture.
Here she discusses this political reframing of her work as part of the current rediscovery of her 1980s films, which are displayed at Vienna Secession... Opening 1 July 2017 Solo exhibition at the Hall Art Foundation, Schloss Derneburg Museum, Derneburg, Germany. The Hall Art Foundation is pleased to announce an exhibition by American artist Barry Le Va to be held at its Schloss Derneburg location.
Since the late 1960s, Le Va has been considered a pioneer of Post-Minimalist and Process Art. This exhibition brings together over fifty works including large-scale installations, sculptures, collages, and works on paper that span the artist’s career... Opening 1 July 2017 Included in group exhibition Für Barbara at the Hall Art Foundation, Schloss Derneburg Museum, Derneburg, Germany. The Hall Art Foundation is pleased to announce a group exhibition, Für Barbara, to be held at its Schloss Derneburg location in honor of recently deceased gallerist Barbara Weiss.
A lifelong advocate for women in the arts, Weiss was also a friend of the Hall's and inspired the inclusion of many works by female artists in the Hall and Hall Art Foundation collections. The exhibition, curated by Leo Koenig, includes over 90 paintings, sculptures, photographs, works on paper and videos by an international and multi-generational roster of female artists dating from the 1950s to 2017.
.. 23 June 2017 Review by Will Heinrich in The New York Times. Leidy Churchman’s response to the existential threat of the internet looks like the protective mimicry that a lot of contemporary painters have adopted. His latest show, “Kindly Bent to Ease Us,” at Mary Boone’s gallery on the southern edge of the Upper East Side, is a riot of reproduction, repurposing and appropriation, with oil paintings of a friend’s family Christmas card; of a panel discussion (“Is the Universe a Simulation, Moderated by Neil deGrasse Tyson”); and of works by Richard Prince, the sculptor Frank Benson and the artist Eric Drooker, who is known for his New Yorker covers.
The painting of the Benson sculpture, moreover, was a collaboration with TM Davy, and the painting of the Drooker cover includes a copy of Mr. Drooker’s signature... 20 June 2017 Review by David Geers on FRIEZE.COM. Given the figure’s recent return in painting, it’s striking how little mention has been made of its appearance (and decomposition) in abject art of the 1990s. The omission may be purposeful: why dwell on the body’s oozy corporeality when smartphone screens offer confectionary distractions from the abject body in daily news – from tragic images of drowned refugees, victims of war, terrorism, gun violence and police brutality? Then again, perhaps this makes reexamining the abject all the more urgent today.
Consider Judith Barry’s imagination: dead imagine (1991/2017), named after Samuel Beckett’s last and shortest novel. Re-installed at Mary Boone, the massive, minimalist cube confronts the viewer with four views of a large head, projected atop its mirrored base. The face of this nameless, androgynous protagonist – a digital composite of a male and a female actor – remains impassive despite successive defilements, dispensed by some off-screen agent until an animated video wipe washes it clean and the process begins anew.
.. 9 June to 24 September 2017 Solo exhibition Jacob Hashimoto: Gas Giants and Uncertain Atmospheres at Wäinö Aaltonen Museum of Art, Turku, Finland. Hashimoto's art blur the line between the works and the spaces that they occupy. This is the first time Hashimoto's art is extensively displayed in Finland. He is best known for working with light, kite-like elements, from which he contructs large-scale, minimalistic and colourful tapestries and installations.
9 June to 7 October 2017 Included in group exhibition Blue Black at the Pulitzer Arts Foundation, St. Louis, Missouri. Renowned artist Glenn Ligon (b. 1960) guest-curates a lyrical meditation on blue and black. Inspired by the Pulitzer’s monumental Ellsworth Kelly wall sculpture, Blue Black, Ligon will expand Kelly’s exploration of the two colors with a diverse selection of more than forty works spanning almost a century and touching upon notions of language, identity, and memory.
With work ranging from Abstract Expressionist canvases to experimental film, and including pieces by Ligon, the exhibition resists fixed interpretations, instead enlisting color as a means to pose timely and nuanced questions. 7 June to 6 August 2017 Installation with Jacques Herzog and Pierre de Meuron Hansel & Gretel at Wade Thompson Drill Hall, Park Avenue Armory, NYC, NY. In a new commission that is both object and environment, Pritzker Prize-winning architects Jacques Herzog and Pierre de Meuron with artist/activist Ai Weiwei explore the meaning of public space in our surveillance-laden world, referencing the story of Hansel and Gretel in which the children lose their way and feel a sense of menace in a space they know and trust.
The artists take advantage of the vast openness of the Drill Hall, creating a 21st century public place in which the environment is disconcerting, the entrance is unexpected, and every movement is tracked and surveyed by drones and communicated to an unknown public... 2 June to 28 October 2017 Solo exhibition Ai Weiwei: Maybe, Maybe Not at The Israel Museum, Jerusalem, Israel. “Ai’s profoundly metaphorical body of work links contemporary Chinese culture with its past in ways that take on even deeper meaning in the setting of Israel, with its similarly ancient heritage.
By shifting contexts—from China to Jerusalem—these installations reflect commonalities between these two civilizations, whose cultures developed concurrently over several thousand years on the eastern and western edges of Asia,” said James S. Snyder, Anne and Jerome Fisher Director of the Israel Museum. “Our collections, covering a million and a half years of human creativity from around the globe, also offer a resonant setting for the universality of Ai’s work, centered on interconnections among history, place, and human experience.
”... 2 June to 3 September 2017 Solo exhibition at the Schirn Kunsthalle, Frankfurt, Germany. Peter Saul deliberately broke the rules of good taste long before “Bad Painting” became a central focus of contemporary art. Working with his own unique language beginning in the late 1950s, the American painter developed a blend of Pop Art, Surrealism, Abstract Expressionism, San Francisco Funk, and cartoon culture in which he addressed social and political issues.
Saul shared Pop Art’s focus on the commonplace, consumer society, and the lighthearted imagery of comics and clothed it in appealing, radiant colors. Yet his art is also associated with the aesthetic strategies of California counterculture. Viewers are confronted with an almost angry style of painting when Saul addresses the dark side of the American Dream, revealing the simultaneity of exaggerated humor and playful yet harsh criticism of the prevailing system.
Wit, slapstick, word plays, comedy, satire, and often earthy humor are the means he employs in his caricature-style attacks on American high culture. The Schirn Kunsthalle Frankfurt is presenting the first comprehensive survey of the previously neglected oeuvre of this great “artist’s artist” in Europe. 14 May to 15 September 2017 Included in group exhibition Animal Farm at The Brant Foundation Art Study Center, Greenwich, Connecticut.
Animal Farm is a show of works revolving around this sense of spiritual dislocation and eternal return. Since the advent of print displaced its representational function, fine art has existed as a history of perverted exchanges between subcultures and mass media. Mickey becomes Andy; Andy becomes a bright t-shirt. A selection of works by Keith Haring, Kenny Scharf, Jean Michel Basquiat, Katherine Bernhardt, Tyson Reeder, Joe Bradley, Chris Martin, Sarah Braman and many others, sketch a story that slides from figurative iconography to totemic abstraction, charting a world in churn; in print, in space, and on canvas.
Animal Farm reminds us that color is as material as culture, and that fantasy has long been a way to resist: identity, oppression, boredom. Freak out, or don’t... 13 May to 25 August 2017 Included in group exhibition Space Force Construction at V-A-C Foundation, Palazzo delle Zattere, Venice, Italy. Marking the centenary of the 1917 Russian Revolution, Space Force Construction considers the legacy of early Soviet art and its spaces of display.
The exhibition brings together more than 100 works from the 1920s and ‘30s along with major reconstructions of spaces, sculptures and functional objects by key Soviet artists such as El Lissitzky, Gustav Klutsis, Aleksandr Rodchenko and Varvara Stepanova. These recreations and historical art works are brought into dialogue with new commissions and recent works by contemporary visual and performing artists, among them Abraham Cruzvillegas, Melvin Edwards, Janice Kerbel, Irina Korina, Barbara Kruger, Christian Nyampeta, Florian Pumhösl, Wolfgang Tillmans and Mikhail Tolmachev.
.. 5 May to 13 August 2017 Solo exhibition KAWS: FAR FAR DOWN at the Contemporary Art Museum, Saint Louis, Missouri. The multifaceted artist KAWS is renowned for his inspired manipulations of pop-culture imagery, a practice that began in the early 1990s when the artist painted over existing advertisements in cities around the world. Since that time KAWS’s practice has encompassed realms of both art and design, extending into collaborations with such global brands as Comme des Garçons, Nike, Supreme, and Uniqlo.
For FAR FAR DOWN, the artist creates a site-specific painting on CAM’s 60-foot long Project Wall, the large-scale work serving as a backdrop for three new major paintings. In the Museum’s courtyard, KAWS debuts the most recent permutation from his sculpture series, TOGETHER—bronze painted figures in a consoling embrace. TOGETHER is immediately endearing, and at the same time evokes pathos and contemplation.
The paintings on view on the Project Wall deliver a sustained visual display of clashing patterns and vibrant colors, with barely recognizable popular figures inlaid within the scenes as deceptively as camouflage. The title of the exhibition and the eponymous painting implies physical or emotional descent, although the status of the concealed forms within the work are open to conjecture... 29 April to 22 October 2017 Included in group exhibition The Transported Man at the Eli and Edythe Broad Art Museum, East Lansing, Michigan.
It is not really magic. But for many, it is the greatest magic trick ever seen. The year is 1901, the same year the great inventor Nikola Tesla was conducting tests to transmit electrical power without wires at an experimental station in Colorado Springs. On the evening of Tesla’s first experiment, bolts of human-made lightning more than one hundred feet high came shooting out from the station. The experiment burned down the generator at the El Paso Electric Company, and the whole city lost power as a result.
.. 21 April 2017 Review by Roberta Smith in The New York Times. As you move among the stands, similar images recur. Laura Aguilar’s photographs capture a heavyset woman partly visible in a desert landscape; Lee Miller’s images capture wartime loss. Emila Medkova shows natural details evocative of human bodies or faces. Ms. Backstrom also finds nature in the details — some mold in full bloom, for example.
And Simryn Gill’s “Channel” images feature nature absorbing human interference with mournful grace. On the wall, a large color photograph by Deana Lawson goes to the bloody center of a Haitian Voodoo rite... 4 April 2017 Article by Barbara Pollack You've Gotta See This! in ARTnews Magazine. Beyond the economy of galleries, fairs, and auction rooms, there is an alternative artist-to-artist network rooted in relationships based on aesthetic influences and mutual appreciation.
In recent years, artists with some degree of success and visibility have gone out of their way to bring attention to lesser known peers and predecessors. Through these efforts, the art world has been introduced and reintroduced to a host of important figures, many of whom have worked for decades in obscurity. Now, with fresh attention focused on their work, these underappreciated artists can assume the spotlight, overcoming obstacles and prejudices that may have stood in their way earlier in their careers.
.. 29 March 2017 Editorial by Casey Lesser I Baked a Cake in Will Cotton's Candyland Studio on ARTSY.NET. For the past two decades, cakes, candies, macarons, and other desserts have been omnipresent in Cotton’s work. In realistic portrayals of beautiful women, he’s employed sweets for their seductive allure and symbolic associations, whether to embellish a fantastical candy queen or to emphasize the advertising industry’s keen ability to provoke desire.
Next week, he will be honored at the New York Academy of Art’s annual Tribeca Ball, an event that will dole out “Will Cotton Cotton Candy” to salute the sweet-toothed artist... 17 March 2017 to 7 January 2018 Solo exhibition Ai Weiwei. Law of the Journey at the National Gallery in Prague, Prague, Czech Republic. After having presented the acclaimed set of sculptures, Circle of Animals / Zodiac Heads in 2016, the National Gallery in Prague is proud to host the Law of the Journey, the first exhibition in the Czech Republic (and in Central-Eastern Europe) of the distinguished Chinese contemporary artist, Ai Weiwei.
Himself a refugee, Ai has almost entirely focused his work on advocating the refugees’ human rights and documenting their tragic condition throughout the past two years. The exhibition Law of the Journey is Ai Weiwei’s multi-layered, epic statement on the human condition: an artist’s expression of empathy and moral concern in the face of continuous, uncontrolled destruction and carnage. Hosted in a building of symbolic historical charge – a former 1928 Trade Fair Palace which in 1939–1941 served as an assembly point for Jews before their deportation to the concentration camp in Terezín – it works as a site-specific parable, a form of (public) speech, carrying a transgressive power of cathartic experience, but also a rhetoric of failure, paradox and resignation.
.. 28 March to 13 August 2017 Major survey exhibition KAWS at the Yuz Museum, Shanghai, China. 11 February to 18 June 2017 Solo exhibition Has Been at Fri Art Kunsthalle, Fribourg, Switzerland. Has Been gathers a selection of works made between 1981 and 1991 by the Dutch painter Peter Schuyff. This exhibition, organized jointly with the Consortium in Dijon, is the first retrospective look at the artist's career.
Arriving in New York in the early 1980s, Schuyff brought into play the countless stories of abstraction by drawing on a vocabulary then considered exhausted. 11 February to 18 March 2017 Solo exhibition Cock in the Box at The Box, Los Angeles, California. 3 February 2017 Review by Jason Farago in The New York Times. Two years ago, the Art Gallery of Ontario in Toronto presented an assured, challenging midcareer retrospective of the German painter Silke Otto-Knapp, whose landscapes and interior scenes are rendered in whispering shades of gray and silver.
Ms. Otto-Knapp’s first North American exhibition since then, at Mary Boone Gallery in Chelsea, is smaller but, in its way, quietly rebellious. The artist, a professor at the University of California, Los Angeles, paints unadorned coastal scenes, pared down to pale washes over carbon-dark backgrounds, as well as figures drawn from dance: in this case, the works of the British choreographer Frederick Ashton.
She renders the Ashton moves in repeated elementary sequences across multiple canvases, sometimes by the seaside, sometimes in empty space... February 2017 Review by Bibiana Obler Facing the Nation: Bibiana Obler on Barbara Kruger in Washington in Artforum. There was something uncanny about the timing of “Barbara Kruger,” which opened at the National Gallery of Art this past September. While ostensibly scheduled to reinaugurate the museum’s series of monographic In the Tower exhibitions on the occasion of the reopening of its newly renovated East Building, the show also spanned the final stretch of the 2016 presidential campaign, the election, and the inauguration.
Not that the choice was overtly controversial: Kruger’s searing critiques of the Reagan era are by now so canonical that they have even been absorbed into the AP Art History curriculum. Yet, as installed in the heart of our capital this past fall, Kruger’s strategic juxtapositions of image and text appeared urgently relevant. Indeed, several of the most prominent works could almost have been conceived as campaign posters for the election.
.. 31 January 2017 Review by Laura van Straaten A Generational Battle of Subversive Wit at Tribeca's "Piss and Vinegar" on ARTNET.COM. “Piss and Vinegar: Two Generations of Provocateurs,” now showing at the New York Academy of Art in Tribeca, is totally worth it, even if just for one artwork: a painting by artist Hilary Harkness. First, the show. The exhibition aims to contrast an earlier generation of artists who use shock in their work with a younger generation of contemporary artists who use shock to different ends.
As the show was being assembled, the curators realized the older generation was all men and the second, all women... 27 January to 29 May 2017 Included in group exhibition Fast Forward: Painting from the 1980s at the Whitney Museum of American Art, NYC, NY. Fast Forward: Painting from the 1980s takes a focused look at painting from a decade associated with the arrival of new media and the rapid growth of the contemporary art world.
Drawn entirely from the Museum’s deep holdings of this period, this exhibition presents work by Jean-Michel Basquiat, Ross Bleckner, Eric Fischl, Elizabeth Murray, David Salle, and Terry Winters, alongside work by less-familiar artists such as Moira Dryer, Joyce Pensato, and Julia Wachtel. While considerable attention has been given to the decade through artists’ use of appropriated imagery and photographic sources, the exhibition examines this moment specifically through the lens of painting, considering the ways in which the medium was reinvigorated throughout the decade at a time when its relevance was fundamentally challenged.
.. 19 January to 5 March 2017 Included in group exhibition Piss and Vinegar at the New York Academy of Art, NYC, NY. Curated by Peter Drake, Dean of the Academy, and gallerist George Adams, Piss and Vinegar unites two generations of provocateurs: five men who came of age in the 1960s and five contemporary female artists. Robert Arneson, Robert Colescott, R. Crumb, Peter Saul, and Robert Williams, whose satirical, sarcastic prints and paintings demonstrate influences from psychedelia to MAD Magazine, will be shown with Nina Chanel Abney, Sue Coe, Nicole Eisenman, Natalie Frank, and Hilary Harkness, whose work explores the same subversive wit and dark, maniacal spirit.
Each artist moreover brings to the table serious technical skill and art historical fluency, in the service of pushing the boundaries of “good taste.” No one subject or affiliation unites the two groups, but the exhibition particularly highlights the choice these artists made to pursue uncomfortable and ostensibly unpopular themes, and to risk having their work called vulgar or grotesque... 18 January 2017 Editorial by Alexxa Gotthardt Judith Bernstein's Penis Paintings Stick It to the Man on ARTSY.
NET. Judith Bernstein has drawn or painted at least 500 phalluses—of all shapes and sizes—over the course of her 50-year career. And that’s just the number I could count across the pages of the artist’s new tome, Dicks of Death, which is released in the U.S. this week. The timing for the book’s launch is auspicious. Bernstein’s titular “dicks” have served as a form of protest—against sexism, against war, against oppression of every stripe—for the feminist art pioneer since her days in Yale’s MFA program during the 1960s.
At the time, she was propelled by the burgeoning momentum of the feminist art movement and her frustration with the chauvinism of the art world and American society at large... 16 January 2017 Solo exhibition #24 at Mary Boone Gallery in The New Yorker. The L.A. abstractionist layers decorative references, loosely patterning her paintings with spray-painted grids or whimsical shapes. Morris’s surfaces summon the world of craft: ceramics, faux finishes, summer-camp T-shirts.
One commanding big square is reminiscent of a chunky pendant, with a raised, canvas-spanning, metallic-gold circle, excised with squiggles... 14 January to 12 March 2017 Solo exhibition Find a peaceful place where you can make plans for the future at Dallas Contemporary, Dallas, Texas. Ross Bleckner is known for painting a spectrum of subjects—from pulsating lines in his resurrection of Op art in the 1980s to the magnified cellular structures of autoimmune diseases in the 1990s and newer contemplative works from the past few years.
Bleckner’s Dallas Contemporary exhibition takes its title from a fortune cookie. Under this prophetic umbrella, the artist presents paintings of landscapes, crowds, flowers, architecture, and birds, all from the last two years. Together they function as memento mori—a meditation on memory and loss... 12 January to 25 February 2017 Included in group exhibition Man Alive! at Jablonka Maruani Mercier, Brussels, Belgium.
Jablonka Maruani Mercier Gallery is pleased to present the group exhibition Man Alive, curated by gallery artist Wendy White. The exhibition includes works by Nina Chanel Abney, Judith Bernstein, Jordan Casteel, Rosson Crow, Rochelle Feinstein, Keltie Ferris, Joanne Greenbaum, Liz Markus, Marilyn Minter, Nathlie Provosty, Ruth Root, Pat Steir, Mickalene Thomas, Kaari Upson, Wendy White, Sue Williams, Brenna Youngblood, Lisa Yuskavage, and Julia Wachtel.
.. 10 February to 30 April 2017 Solo exhibition Shared Eye at the Kunsthalle Basel, Basel, Switzerland. Sadie Benning (born 1973, USA) shows a group of new works, somewhere between sculpture, painting and photography. Each work consists of colorful plastic, re-drawn digital photos, found images, objects, shelf-like projections and painted elements, reflecting American politics, immediate experiences, and the poetics of everyday life.
Shared Eye is organized in collaboration with The Renaissance Society, Chicago, Illinois. December 2016/January 2017 Interview with Phong Bui Art in Conversation: Ai Weiwei with Phong Bui for The Brooklyn Rail. In tracing Weiwei’s complex and prolific career since mid-1995, we all felt his work embodied breadth and ambition, which compelled questions regarding social and political issues including the legacy of the long rule of China’s communist party.
The undeniable scale and world-wide visibility of his work has sparked expressions of freedom and safeguarded individual expression to such degree that, whatever the differences in ideology between capitalism and communism are, China is straddling to maintain this precarious balance between old traditional values and the new consumer culture... 1 December 2016 to 2 April 2017 Included in group exhibition Art AIDS America at Alphawood Gallery, Chicago, Illinois.
This groundbreaking exhibition underscores the deep and unforgettable presence of HIV in American art. It introduces and explores the whole spectrum of artistic responses to AIDS, from the politically outspoken to the quietly mournful, surveying works from the early 1980s to the present... 30 November 2016 to 12 March 2017 Included in group exhibition Toda Percepcion es una Interpretacion: YOU ARE PART OF IT at Cisneros Fontanals Art Foundation, Miami, Florida.
The exhibition Toda percepción es una interpretación: You are part of it is a retrospective look from the viewpoint of contemporary issues of art, culture, politics and economics. It seeks to reflect on the successive reconfigurations of the art map in the last few decades, on the displacements and relocations of its primary centers, from Paris to New York, from Venice to São Paulo, from Basel to Miami.
It speaks of areas that have succeeded in alternating centripetal or centrifugal forces, where art has relocated its meeting points and its observation points. We also pay attention to the effects of redrawing the financial or political map, with the repercussion it has on how one makes and proceeds in art... 19 November 2016 to 22 January 2017 Solo exhibition Shared Eye at The Renaissance Society of the University of Chicago, Chicago, Illinois.
The Renaissance Society presents Shared Eye, a new installation by artist Sadie Benning. In this series of mixed-media panels, images are layered and interpolated, suggesting the complexities of representation inherent in visual communications... 2 November 2016 Ai Weiwei named as The Wall Street Journal Magazine's Art "Innovator of the Year". Ai Weiwei does not have a signature style, but instead works across mediums, and has become one of the world's most influential and prolific contemporary artists.
.. 2 November 2016 Ai Weiwei’s Triumphant Return by Tony Perrottet in The Wall Street Journal Magazine. In 2011, the controversial artist Ai Weiwei was detained in Beijing and his passport was confiscated for four years by the Chinese government. This fall marks his return to New York City with two new gallery shows... November 2016 Interview with Tomoo Gokita in Shikimei. 30 October 2016 On the Cover: Donald Trump by Barbara Kruger for the Election Issue of New York Magazine.
For the cover of New York’s Election Issue, we turned to the artist Barbara Kruger, who had created such a memorable cover for the magazine the week of Eliot Spitzer’s resignation. She came back with this image. Editor-in-chief Adam Moss says that he and the editors “were drawn to it, in part, for the three ways in which it could be interpreted: as Trump speaking (single word epithets being his specialty); as a description of Trump; and as a call on the election result.
On this latter point, who knows — and we confess to being a little rattled when the Comey letter news broke just as we were shipping it. But in the end we felt that the power of Kruger’s image transcended any one meaning you could read into it. The issue analyzes many aspects of Trump’s extraordinary candidacy, and an important point is spelled out in the headline we appended to the bottom corner: Trump has already changed America, not much for the better.
Which adds a fourth meaning: in that sense we are all losers too. 23 October 2016 to 23 April 2017 Solo exhibition Francesco Clemente: Dormiveglia at NSU Art Museum Fort Lauderdale, Fort Lauderdale, Florida. NSU Art Museum Fort Lauderdale will present Francesco Clemente: Dormiveglia from October 23, 2016 through August 23, 2017. This exhibition includes a series of nine, majestic large-scale paintings by Francesco Clemente (born 1952 in Naples, Italy, lives and works in New York and India).
Painted in New York in 1998, the Dormiveglia series takes its title from the Italian expression connoting the state between sleep and awakening and captures the state in which reality intrudes into the realm of dreams... 20 October 2016 Review by Roberta Smith in The New York Times. Tomoo Gokita, a polymath of drawing mediums and styles, turned to painting in 2005, basing his images on found photographs and working exclusively in the sharp whites, velvety blacks and myriad grays of gouache.
They pack an unsettling visual punch. In “Out of Sight,” at Mary Boone, the paintings’ neon glow and louche, vintage feel evoke the work of the Pop outlier Ed Paschke (1939-2004). Subjects include a pair of Playboy bunnies; nuclear families; couples out for the evening; a send-up of Manet’s “Olympia”; and “Madam,” a woman in a strapless, kaleidoscopically patterned cocktail dress. Faces are often disturbingly “out of sight,” masked with shaded curved visors suggestive of astronauts’ gear.
They dehumanize, yet real emotions seep around their edges... 20 October 2016 to 22 January 2017 Major survey exhibition KAWS: WHERE THE END STARTS at the Modern Art Museum of Fort Worth, Fort Worth, Texas. The Modern Art Museum of Fort Worth hosts a major survey exhibition of the work of Brooklyn-based artist KAWS (American, born 1974) on view in Fort Worth through January 22, 2017, and traveling to the Yuz Museum in Shanghai, China, March through August 2017.
Organized by Modern Art Museum of Fort Worth curator Andrea Karnes in close collaboration with the artist, this presentation features key paintings, sculptures, drawings, toys, and street art interventions to examine KAWS’s prolific career in depth, revealing critical aspects of his formal, conceptual, and collaborative developments over the last twenty years... 20 October 2016 Article by Robin Pogrebin Ai Weiwei Melds Art and Activism in Shows About Displacement in The New York Times.
When migrants were forced to evacuate the Idomeni refugee camp along the Greek-Macedonian border, the Chinese artist and dissident Ai Weiwei came to gather what they left behind. Mr. Ai did not haul back to his Berlin studio only the filthy clothes, shoes and blankets that would otherwise have been bulldozed away. He washed them. He ironed creases into the pants, brushed lint off the sweaters, scraped mud out of the sneaker treads.
.. 18 October 2016 Interview with Victoria Sung Game On: Ericka Beckman's You The Better in The Walker Art Center's Untitled (Blog). Since the mid-1970s, Ericka Beckman has experimented with film as a medium for expanding the possibilities of performance, often creating set pieces and rule-based actions specifically for the camera. Presenting the original film in conjunction with animated props, the installation You The Better (1983/2015) implicates the viewer as an active participant in the game.
You The Better is on view through December 31 in the Walker group exhibition Less Than One. Here, we talk about the spirit of easy collaboration in New York of the 1970s and ’80s, how the original film resonates with today’s plugged-in audiences, and the analogy between games of chance and life... 17 October 2016 Alec Baldwin’s lawsuit against art dealer Mary Boone over a Ross Bleckner painting is having unintended consequences — it’s helping Boone sell more Bleckner art.
7 October 2016 Article by Emma Hope Allwood Barbara Kruger: Back to the Futura on Dazeddigital.com. Barbara Kruger’s art hits you like a punch to the jaw. You’ve seen her work, even if you’ve never been to one of her shows – photography overlaid with coloured boxes filled with bold white Futura Oblique, or caps locked sans serif text that bears down at you from gallery walls and the sides and roofs of buildings.
It’s not hard to miss, and that’s why it’s brilliant: it’s both direct and democratic, stealing the visual identity of advertising and fear-mongering tabloids to spread messages that question systems of power, that challenge corruption, sexism and consumerism. “I shop therefore I am”. “Money can buy you love”. “Your body is a battleground”... October 2016 Interview with Susanne Prinz for King Kong Magazine, Issue 2.
For the Uncanny issue of KING KONG, we have fallen headfirst into a world of lucid dreams and strange fantasies, in the hope that, when we wake, things will be a little clearer and lighter than before. For the second issue of King Kong, we have ventured into the shadowy recesses of the human experience, nearly losing our minds in disturbia. 448 pages, 6 alternate covers. Featuring the work of legends such as Cindy Sherman, AA Bronson, Kienholz, Judith Bernstein, Peter Saul, Laurie Simmons, Marilyn Minter, Isamaya Frrench, Shun Watanabe, Bob Recine, Oliverio Toscani, Nicola Formichetti, David Dunan and the late Anton Yelchin, the Uncanny Issue threatens to be even bigger and badder than our debut.
30 September 2016 to 30 January 2017 Solo exhibition In the Tower: Barbara Kruger at the National Gallery of Art, Washington, DC. A focused exhibition featuring the work of American artist Barbara Kruger (b. 1945) reopens the East Building Tower Gallery after nearly three years of renovation to the space. Inspired by the Gallery's recent acquisition of Kruger's Untitled (Know nothing, Believe anything, Forget everything) (1987/2014), the exhibition comprises related images of faces and figures in profile over which Kruger has superimposed her striking phrases and figures of speech.
The distinctive direct address of Kruger's texts (using active verbs and personal pronouns) confronts viewers straight on, contrasting with her selected images of side-glancing figures, receiving and averting the audience’s gaze. The results are arresting conceptual works of visual power and wit. 24 September 2016 to 2 January 2017 Included in group exhibition Her Crowd: New Art by Women from Our Neighbors’ Private Collections at the Bruce Museum, Greenwich, Connecticut.
Only yesterday, it seems, one was hard-pressed to name more than a handful of successful women artists; now the list would be extensive, and the choices rich and varied. Although numerous recent exhibitions have featured women’s art, scant attention has been paid to the collecting of art created by women. In fact, private collections are in the process of being dramatically transformed. Greenwich and nearby communities in Fairfield and Westchester counties are home to a number of the finest contemporary collections, and thus to some of the most exciting art being made today.
Her Crowd will offer the rare opportunity to see what some of America’s most influential collectors of contemporary art consider beautiful, important, and compelling... 23 September to 12 November 2016 Solo Exhibition Some Terrible Problems at Michael Werner Gallery, London, England. In 1967, Saul said, “Not to be shocking means to agree to be furniture”. This statement outlines the exceptional attitude with which Saul gleefully skewers the conventions of world politics and culture.
“Pictures with problems” are Peter Saul’s abiding interest. Some Terrible Problems features seven new large-scale canvases, each dissecting to humorous, gruesome and often offensive effect a range of subjects and attitudes. These remarkable new works revisit genres of history painting and portraiture while remaining thoroughly contemporary and visually unlike anything else in recent painting.
.. 23 September 2016 to 22 January 2017 Solo exhibition Ai Weiwei. Libero at Palazzo Strozzi, Florence, Italy. Running till 22 January 2017, Palazzo Strozzi in Florence presents Italy’s first major retrospective dedicated to one of the world’s most celebrated and influential contemporary artists, Ai Weiwei. This outstanding retrospective showcasing both old and new works has received broad coverage and rave reviews in all the leading Italian and international media.
This major exhibition includes key monumental installations, sculptures and objects, as well as videos and photography series produced throughout his career. These range from his years living in New York 1980s and ’90s when he discovered his ‘masters’ Andy Warhol and Marcel Duchamp, to the large iconic assemblages works from the early 2000s consisting of objects such as bicycles and stools, to his recent controversial and engaged works such as portraits of political dissidents built with LEGO bricks, and his projects on migration in the Mediterranean region.
.. 22 September to 10 November 2016 Solo exhibition “Excuse Me Ma’am” at Kaufmann Repetto, Milan, Italy. Sadie Benning started making experimental videos as a teenager in 1988. The low-fi, black and white videos explored aspects of identity, language and memory. Improvising with materials that were immediately available at the time, Benning fragmentally constructed moving images from found objects, drawings, text, performance and personally shot footage.
The form, content and poetics explored in the earlier video works has expanded over the past two decades, continuing to wrestle with evolving political, conceptual and material questions... 22 September 2016 New York book launch for Judith Bernstein: Rising, published by Kunsthall Stavanger, at The New Museum, NYC, NY. Join Kunsthall Stavanger and the New Museum on September 22 for the New York launch of Judith Bernstein Rising! Judith Bernstein and Johanna Fateman will hold a discussion during the event and will be available for book signing after the talk.
Copies of the publication will be for sale during the event... 18 September to 30 December 2016 Included in group exhibition Datumsoria: An Exhibition of Liu Xiaodong, Carsten Nicolai, and Nam June Paik at Chronus Art Center, Shanghai, China. Chronus Art Center is pleased to present the much-anticipated presentation of Datumsoria: An Exhibition of LIU Xiaodong, Carsten Nicolai, and Nam June Paik.
A neologism, Datumsoria conjugates datum and sensoria, denoting a new perceptual space immanent to the information age... 17 September to 29 October 2016 Solo exhibition L'oeil de l'esprit at Air De Paris, Paris, France. 16 September to 22 October 2016 Included in group exhibition 40 Years/Part 1 at Rhona Hoffman Gallery, Chicago, Illinois. “40 Years: Part 1” features significant Minimal and Conceptual works like Incomplete Open Cube by Sol LeWitt; a Fred Sandback yarn sculpture; Measurement: Wall (1969) by Mel Bochner; a conceptual ruler drawing and a painting by Sylvia Plimack Mangold; Dan Flavin’s neon light piece; Wolfgang Laib’s Rice House, and two 1960s prints by Donald Judd.
Works by Portuguese artist Pedro Cabrita Reis, whom Hoffman first exhibited in the United States, and Barbara Kruger, who executed her first floor text piece in the gallery, are a testament to Rhona Hoffman’s commitment to pushing the boundaries with new ideas. Spencer Finch’s light work Goldberg Variations, new paintings by Art & Language, Michael Rakowitz’s What Dust Will Rise project from Documenta, a hanging sculpture by Richard Rezac, and other recent works buttress the exhibition’s historical pieces.
.. 15 September to 13 November 2016 Solo exhibition Francesco Clemente: After Omeros at Coro della Maddalena, Alba, Italy. The partnership between the Ceretto family, well-known wine makers, and the municipality of Alba (CN) goes on. Like every year, beginning in September and for most of the duration of the International Alba White Truffle Fair, the Coro della Maddalena of Alba is hosting a contemporary art exhibition featuring the most prestigious names in the international art scene.
This year it will be up to Francesco Clemente to combine contemporary art with the wonderful Baroque setting of the Choir. The artist, who was protagonist at the Siena exhibition "Fiori d’Inverno a New York” (winter flowers in NY), will bring to Alba his most recent works which were never displayed in Italy before... 14 September 2016 Article by Jonathan Jones Someone Please Give Alec Baldwin a History of Art Lesson in The Guardian.
The actor’s ‘original’ artwork lawsuit exposes a basic misunderstanding – art glories in repetition, not least the luscious, lyrical paintings of Ross Bleckner... 10 September 2016 to 26 March 2017 Included in group exhibition Under Arms: Fire & Forget 2 at Museum Angewandte Kunst, Frankfurt, Germany. Whether they are carried – legally or illegally – as a means of maintaining the public order, for the individual or collective application of force, for personal safety or as sports or work equipment, weapons and the threat they pose are always bound up with social structures.
They are among us – whether we see them or not, whether they arouse fear or pleasure or both at the same time. In an exhibition architecture that exaggerates the formal language of fairs for the museum context, the show will present objects from design, the media and art that seek to exploit the emotions associated with weapons for their own aims. Under Arms: Fire & Forget 2 is an expansion and new conception of the show Fire & Forget: On Violence, curated by E.
Blumenstein and D. Tyradellis for the KW Institute for Contemporary Art Berlin... 9 September to 16 October 2016 Included in group exhibition Coming to Power: 25 Years of Sexually X-Plicit Art by Women at Maccarone, New York. Maccarone Gallery, with Pati Hertling and Julie Tolentino, restage the landmark feminist exhibition COMING TO POWER: 25 Years Of Sexually X-Plicit Art By Women, curated by Ellen Cantor in 1993 at David Zwirner Gallery.
.. 8 September to 3 December 2016 Solo exhibition Dawoud Bey: Harlem Redux at Stephen Daiter Gallery, Chicago, Illinois. Harlem Redux marks photographer Dawoud Bey’s return to the community that was the site of his first completed project Harlem, USA (1975-1979). Before he was born, Bey’s parents met and lived in Harlem – this family history served as the inspiration for this work. Some forty years later, the artist returned to photograph the neighborhood, a response to a sense that its unique character and identity are in flux.
In these new images Bey shows Harlem in transition, once vibrant and celebrated, giving way to a more gentrified and homogenized present. Intent on depicting this change as it takes place, Harlem Redux seeks to answer the question – What does a community look like while undergoing such a dramatic transformation? 8 September to 20 October 2016 Solo exhibition at Jablonka Maruani Mercier Gallery, Brussels, Belgium.
Jablonka Maruani Mercier Gallery is proud to present Francesco Clemente's body of work for the first time in Belgium. The exhibition will showcase three series : Fertility (painted in India), Portraits (painted in New York City), & Making Love in a Fleeting World (painted in St. Barts). The oeuvre of the Italian contemporary artist Francesco Clemente (b. 1952) spans over four decades and has achieved international acclaim.
Predominantly interested in themes of both religion and spirituality, Clemente's work for the most part depicts both the human form (in its entirety or metamorphosing between human and animal) or symbolic motifs... 4 September to 23 October 2016 Solo exhibition Robert Barry: Random at untilthen, Saint Ouen, France. Divided into two rooms, the exhibition will feature works from the late sixties and the present.
In the main space, Robert Barry will present three different multi-part works, the parts of which will be arranged in a random fashion. Each series is composed of a number of painted canvases or natural wood panels with painted words... 3 September to 31 October 2016 Solo exhibition A Nomadic Life: Francesco Clemente in China at Springs Art Center, Beijing, China. Rather than just being a user of the concept, Clemente is a true nomad.
His understanding of the nomadic life is thinking globally and acting locally. In the artist’s view, nomadic space is based on national space. He integrates a truly nomadic life into his art practice with the intention of expanding its vitality and adopts a “reproduction” which redefines cultural attributes. Clemente continues to use repetition and displacement in these ink paintings, executing the various figures in wonderful and meaningful renditions.
Clemente adopts the somewhat satirical and humorous style of a monologue and his approach seems to unveil the ominous contemporary circumstances while the addition of a poetic, metaphysical tone expresses freedom of choice and has the appeal of an enigma... 2 September to 8 October 2016 Solo exhibition at Galerie Gabriel Rolt, Amsterdam. Galerie Gabriel Rolt is delighted to announce PETER SCHUYFF, the artist’s second solo exhibition at the gallery.
Peter Schuyff has been key to the abstract art landscape for over more than 30 years. Rooted in the concepts of the 80’s artistic movement Neo- Geo, the typical patterns of Schuyff’s canvasses, consisting of geometrical and tridimensional shapes, persist in what seems to be an eternal movement. The use of primary forms, like squares and circles, suggests the existence of a primordial world, made by pure geometry.
It’s here, in this indefinable dimension, that these different lines and shapes meet light, the essential element which initiate their calm mobility... 31 August 2016 Article by Hilary Moss Creating Order in the Universe With Thousands of Kites in The New York Times’s T Magazine online. In late 2006, Mary Boone phoned the artist Jacob Hashimoto several months ahead of his first show at her venerable gallery to ask about his progress.
“She said, ‘I heard that you haven’t finished any of the work,’ and she explained that when she does a show of six or seven pieces, she hopes to choose from 15,” he remembers. “I told her that my studio is like a sourdough bread bakery — you have the mother, which is the dough that you’re growing, and you feed it flour and water, and the mother gets bigger and keeps leavening. And, eventually, you take off chunks and make your biscuits, but most of the time, you’re feeding the mother.
..” 19 August 2016 Article by Ken Johnson Searching for Light in the Darkness of the '80s in The New York Times. For contemporary art in America, the 1980s was an exciting if not lovable decade. Arguably it was second only to the 1960s for ambitious innovations of style and thought. Consider Julian Schnabel’s brawny Neo-Expressionist paintings, Cindy Sherman’s canny, staged self-portraits, Jeff Koons’s sumptuous sculptures of kitschy objects and Barbara Kruger’s suavely designed leftist agitprop: The ’80s abounded in eye- and mind-grabbing work.
In contrast to the future-oriented euphoria of the ’60s, however, the mood of art in the ’80s was retrospective and darkly rueful. With AIDS taking the lives of many in the art community and a conservative president, Ronald Reagan, in the White House, reasons for optimism apparently were few. That downbeat feeling is stirringly conveyed by “Unfinished Business: Paintings From the 1970s and 1980s by Ross Bleckner, Eric Fischl and David Salle,” an exhibition of paintings and drawings by three artists who rose to stardom in the ’80s, at the Parrish Art Museum in Water Mill, N.
Y... 18 August 2016 Interview with Masha Goncharova for The New York Times online, On Instagram, the Artist Ai Weiwei Focuses on Refugees. Ai Weiwei, the Chinese artist and dissident, is known for his films, sculptures and photography. Last July, the Chinese government returned Mr. Ai his passport after four years of detainment in Beijing. Since sharing the moment on his Instagram, Mr. Ai has been traveling — first moving to Germany, where he settled with his family, then to London in September for his single-artist show at the Royal Academy of Arts, and in January to Paris for an atrium and window display inside the Bon Marché department store.
Featured most prominently on Mr. Ai’s Instagram after his release from China were not the shows, but rather his extensive travels to the Greek island of Lesbos, which he has visited frequently since late December. Each time he went, Mr. Ai posted many (a handful a day was not uncommon) poignant photos of refugees... 7 August to 16 October 2016 Included in group exhibition Unfinished Business: Paintings from the 1970s and 1980s by Ross Bleckner, Eric Fischl, and David Salle at the Parrish Art Museum, Water Mill, New York.
Unfinished Business: Paintings from the 1970s and 1980s by Ross Bleckner, Eric Fischl, and David Salle features the work of three artists who met in the early 1970s at the California Institute of the Arts in Los Angeles before moving to New York in the 1980s, where they immediately established careers as influential painters. At a time when painting was thought to have passed its prime, Ross Bleckner, Eric Fischl and David Salle discovered, in its materials and conventions, a medium rife with possibilities—particularly for artists interested in doing something original, and ambitious, with its history.
Unfinished Business explores the distinct styles, philosophies, and convictions of the three painters. Featuring 23 large-scale canvases and 17 works on paper, the exhibition outlines the development of each painter’s formal vocabulary while suggesting deep connections between and among the works of all three... 5 August 2016 Review by Rachel Spence Joseph Beuys at the Scottish National Gallery of Modern Art in the Financial Times, London.
4 August to 30 September 2016 Solo exhibition Joseph Beuys x 1000 at the Demarco Gallery at Summerhall, Edinburgh, Scotland. Joseph Beuys, one of the great artistic geniuses of the 20th century died in 1986, thirty years ago. To this day he is exhibited more than any living artist and there continue to be hundreds of exhibitions dedicated to featuring Beuys across the world. Richard Demarco introduced Joseph Beuys and many others of the international avant garde to Scotland.
2016 marks the 50th anniversary of the Demarco Gallery, an appropriate time at which to celebrate Richard Demarco and his artistic collaborations, friendships and critical dialogues through exhibitions which also acknowledge the 40th anniversary of Edinburgh Arts (exploration programme) and the 25th anniversary of the Demarco European Art Foundation, based at Summerhall... 30 July to 30 October 2016 Solo exhibition Artist Rooms: Joseph Beuys A Language of Drawing at the Scottish National Gallery of Modern Art, Edinburgh, Scotland.
The German artist, Joseph Beuys (1921-1986), is perhaps best known for his ‘actions’, installations and sculpture, but first and foremost he was an artist who was interested in ideas: ideas about how the world, both natural and social, functioned and how the latter could be improved. And the way that he expressed these ideas most readily was in his drawings. This exhibition will bring together, for the first time, the extraordinary group of over 110 drawings by Beuys held in the ARTIST ROOMS collection.
The drawings cover the whole of the artist’s career from 1945 to the end of his life, reflecting his encyclopaedic interest in nature, science, philosophy, mythology, society, politics and religion. 30 July to 9 October 2016 Solo exhibition Francesco Clemente: Encampment at Carriageworks, Eveleigh, Australia. The first major exhibition in Australia of work by acclaimed Italian contemporary artist Francesco Clemente, and second in the annual Schwartz Carriageworks series of major international visual arts projects, Encampment includes six of Clemente’s celebrated large-scale tents, transforming 30,000 square feet of the precinct into an opulent tented village.
Created in collaboration with a community of artists in Rajasthan, India, with exteriors that combine camouflaged fabric and golden embroidery, the tents in Encampment invite us into jewel-toned spaces populated by Byzantine angels... 29 July to 16 October 2016. Solo exhibition Richard Demarco and Joseph Beuys – A Unique Partnership at the Scottish National Gallery of Modern Art, Edinburgh, Scotland.
This exhibition will look at the works, lectures and ‘actions’ Richard Demarco commissioned from Joseph Beuys, the innovative and inspirational German postwar artist, from 1970 until Beuys’ death in 1986. Demarco, an avant-garde gallerist in Edinburgh, recognized the visionary quality of Beuys’s work and visited him in Oberkassel in January 1970. Determined to focus Beuys’ attention on Scotland, he presented him with a set of postcards.
Beuys responded with, ‘I see the land of Macbeth, so when shall we two meet again, in thunder, lightning or in rain?’ They reunited in stormy Edinburgh later that year and Demarco led him northwards along the ancient track he calls ‘The Road to Meikle Seggie’. This initial experience of the Scottish landscape inspired Beuys and laid the foundation for a remarkable artistic relationship... 29 July 2016 Article in the Los Angeles Times online by Deborah Vankin, The Broad acquires 29 new works, keeping an eye on local artists.
Eli Broad has been a busy man this year overseeing his Broad museum, which is approaching its one-year-anniversary in September — but not too busy to buy new art. The Broad has added 29 new works to its permanent collection, it announced on Friday, all acquired since the museum’s opening. A third of the new works come from local artists, further deepening the museum’s connection to Los Angeles.
.. 16 July to 4 December 2016 Included in group exhibition The Making of a Fugative at the Museum of Contemporary Art, Chicago, Illinois. In September 1970, Life magazine’s cover featured a photograph of recently arrested scholar and activist Angela Davis superimposed with the words “The Making of a Fugitive.” The exhibition, which takes its name from the iconic publication, presents works that not only reflect on the fugitive figure in American popular culture, but also interrogate how narratives constructed by the media influence our understandings of lawlessness and otherness and directly inform our views on innocence, safety, and normalcy.
The artists have combined text and images, self-fashioned themselves as “wanted” bodies, and questioned our ability to accurately interpret visual evidence shaped by multiple social pressures and conditions. The Making of a Fugitive showcases mixed media, prints, photographs, and sculptures made by artists working from the 1970s to the present and highlights conceptual artworks in the MCA’s collection.
Featured artists include Dennis Adams, Chris Burden, David Hammons, R. B. Kitaj, Barbara Kruger, Glenn Ligon, Bruce Nauman, Huong Ngo, Carrie Schneider, and Xaviera Simmons. Whether the works conjure memories of iconic fugitives, such as Patty Hearst and Angela Davis, or incorporate loaded words, like safety and fear, viewers are prompted to question their assumptions about criminality and contemplate how the circulation of images influences their ideas.
.. 14 July 2016 Article by M.H. Miller The Anti-Museum Director: Alanna Heiss on the 40th Anniversary of PS1 Contemporary Art Center on Art News online. Alanna Heiss founded the PS1 Contemporary Art Center in an abandoned school in Queens in 1976. The building had no roof, no windows, no plumbing, and no electrical wiring. This remained the case even after Heiss opened the first exhibition there in June that year, called simply “Rooms.
” The show is now legendary—a remarkable sampling of contemporary art from the mid-’70s and probably the pinnacle of site-specific installation, with each work created for its sublimely decrepit context. Gordon Matta-Clark removed portions of the floors from the first, second, and third levels of the building, converting the old school into a massive sculpture of negative space. Alan Saret carved a hole into a wall on the third floor, which was designed to focus a beam of light from outside into the building, and it still exists today.
The show positioned young artists who had received little to no attention from American museums on the frontlines of the avant-garde, and helped make Heiss into a folk hero in the process... 14 July to 20 November 2016 Solo exhibition Ai Weiwei: translocation - transformation at 21er Haus, Vienna, Austria. "Everything is art. Everything is politics", says Ai Weiwei (born in 1957), one of the world’s most famous contemporary artists.
As a conceptual artist, documentarian and activist, his works deal not only critically with the history, culture and politics of his homeland China, they also react to social realities of migration between countries and continents. Through November 20, 2016, the 21er Haus presents his first major solo exhibition in Austria... 13 July to 23 October 2016 Included in group exhibition Art AIDS America at the Bronx Museum of the Arts, Bronx, New York.
This summer The Bronx Museum of the Arts will present Art AIDS America, the first exhibition to examine the deep and ongoing influence of the AIDS crisis on American art and culture. The exhibition will feature more than 125 works in a wide range of media dating from 1981 to the present day, by artists including Félix González-Torres, Derek Jackson, Kia Labeija, Annie Leibovitz, Robert Mapplethorpe, and Martin Wong.
The exhibition, on view from July 13 through October 23, 2016, is organized by the Tacoma Art Museum in partnership with The Bronx Museum of the Arts... 9 July to 23 October 2016 Included in group exhibition A History of Photography at the George Eastman Museum, Rochester, New York. The George Eastman Museum photography collection is among the best and most comprehensive in the world. With holdings that include objects ranging in date from the announcement of the medium’s invention in 1839 to the present day, the collection represents the full history of photography.
Works by renowned masters of the medium exist side-by-side with vernacular and scientific photographs. The collection also includes all applications of the medium, from artistic pursuit to commercial enterprise and from amateur pastime to documentary record, as well as all types of photographic processes, from daguerreotypes to digital prints... 7 July to 9 September 2016 Included in group exhibition Co-Thinkers at the Garage Museum of Contemporary Art, Moscow.
Co–thinkers is the first in a series of projects at Garage Museum of Contemporary Art that seeks to expand the notion of inclusion in an art institution. It is also an exhibition of major works by world-famous contemporary artists rarely exhibited in Russia. Artists include Cecily Brown, Maurizio Cattelan, Antony Gormley, Barbara Kruger, John Miller, Melvin Moti, Rob Pruitt, Neo Rauch, Robert Rauschenberg, Jason Rhoades, Ed Ruscha, Jenny Saville, Cindy Sherman, Elaine Sturtevant, Rosemarie Trockel, and James Turrell.
The works selected create a perception shift in the viewer’s imagination, stimulating reactions ranging from uncertainty, hesitation, and critique to admiration, irony, and meditation... 29 June to 2 October 2016 Solo exhibition Winter Flowers and the Tree of Life at Complesso Museale Santa Maria della Scala, Siena, Italy. With this exhibition Francesco Clemente pays tribute to Siena, a city that already in 2012 has shown a keen interest in his art with the prestigious appointment to design the Great Banner of the Palio di Siena.
As a result of this collaboration, the artist has created ten new works, divided into two distinct cycles, to be exhibited in the city at the invitation of Max Seidel... 28 June to 20 August 2016 Included in group exhibition Eau de Cologne at Sprüth Magers, Los Angeles, California. The group show Eau de Cologne at Sprüth Magers in Los Angeles features work from the late-1970s to 2016 by Jenny Holzer, Barbara Kruger, Louise Lawler, Cindy Sherman and Rosemarie Trockel.
The exhibition at Sprüth Magers’ recently-opened Los Angeles gallery is a follow-up to its predecessor in Berlin last year. It sheds light on key topics in these artists’ works, but also the specific history of the gallery and its connection to these important female figures of an art that subtly addresses women’s roles in very different ways... 22 June to 10 September 2016 Solo exhibition Jim Isermann - Constituent Components at Bloomberg SPACE, London.
Constituent Components is an exhibition of six sculptures and one wall work that play out the possibilities of an isometric cube in order to create new forms. Applied to the walls as a graphic vinyl pattern and arranged across the gallery floor as double-stacked, modular cubes, these newly commissioned works explore Jim Isermann’s career-long conflation of industrial design, craft production and art.
Performing a fragile balance between these modes of operation, the exhibition proposes a dialogue between high and low, hand and machine, analogue and digital creation... 20 June 2016 Article by Andrea K. Scott Ryan Mc Namara, The Artist Who Dances About the Internet in The New Yorker online. Since the end of the aughts, the Brooklyn-based artist has become a darling of the art and fashion beaux mondes—Picasso’s granddaughter arranged an early performance at Art Basel Miami, and Louis Vuitton commissioned a live work for its flagship store on Fifth Avenue.
At heart, though, McNamara is really a populist, whose audacious career might be summed up in the words of a reality-TV show: “So You Think You Can Dance.” In his performances, he has elevated the passionate enthusiasms of the amateur to the level of art. He’s also not above a dumb joke: he once staged a Whitney Houston karaoke night at the Whitney Museum... 19 June to 28 August 2016 Included in group exhibition Forty at MoMA PS1, Long Island City, New York.
Organized by P.S.1 Contemporary Art Center founder, Alanna Heiss, Forty features work by over 40 artists who were key participants in the 1970s alternative art spaces movement and the early years of P.S.1 Contemporary Art Center. In 1976, Alanna Heiss founded P.S.1 as the latest venture in a series of pioneering projects organized through her non-profit organization, the Institute for Art and Urban Resources, which included the Clocktower Gallery in lower Manhattan and other disused spaces across New York City.
With both the intellectual and physical room to experiment, nearly 80 artists created work for P.S.1’s inaugural 1976 show, Rooms, which has since become a landmark in the art history of 1970s New York. The artists used classrooms, stairwells, windows, closets, bathrooms, the boiler room, courtyard, and attic—often engaging directly with the existing architecture. Rooms catalyzed changes in the forms and methods of making art, and expanded ideas about how it could be shown.
.. 18 June to 29 July 2016 Included in group exhibition Block Parts at Barbara Krakow Gallery, Boston, Massachusetts. Barbara Krakow Gallery proudly presents “Block Parts”, a group show featuring the work of 11 artists made over the past 50 years. Curated as an aesthetically cohesive experience, the show provides myriad opportunities to explore themes of repetition, familiarity, memory, history and the viewer/subject relationship both within and between works.
The individual pieces have as consistent a dedication to specificity of material as they do to more subjective themes, and yet no work looks older or newer than another, which speaks to the timelessness of both the works and the issues investigated therein... 17 June 2016 Review by Pei-Ru Keh Light beings: G.T. Pellizzi’s constellations of light at The Watermill Center in Wallpaper online.
This month, the space presents G.T. Pellizzi’s Constellation in Red, Yellow and Blue, a vivid installation of light sculptures that were created during his residency at Watermill. Created and sited specifically for the space, the works are inspired by invented cosmologies that take into account the many mythological, astrological and calendar symbols found in textiles at the centre’s own Watermill Collection – an accumulation of artefacts amassed by Robert Wilson himself.
.. 13 June 2015 to 3 January 2016 Solo exhibition Francesco Clemente: Encampment at MASS MoCA, North Adams, Massachusetts. “I’m told I am a nomadic artist,” artist Francesco Clemente once dryly noted. In Encampment — a multi-part 30,000 square foot installation occupying MASS MoCA’s largest gallery — Clemente’s transitory experience of changing geographies, diverse cultural climates, and indeed consciousness itself infuses his imagery and art with a particularly rich range of references and meaning.
For the past three decades Clemente has traveled often, dividing his work and primary residences between Varanasi, India, and New York. Informed by the logistical realities and production opportunities of making art in wildly disparate locations, his aesthetic investigation of states of flux delves into the nature of passage itself. “I believe in this movement of generating and dissolving, and regenerating and dissolving again — this is a technique for the mind to become and remain awake,” Clemente explains.
Passages between bodily pleasure and changing spiritual states, between acts of destruction and creation, and between the seen and unseen are all at the heart of Encampment, opening at MASS MoCA in North Adams on June 13, 2015, and remaining on view through early January 2016... 12 June to 28 August 2016 Solo exhibition KAWS: GISWIL at More Gallery, Giswil, Switzerland. 11 June to 10 July 2016 Solo exhibition G.
T. Pellizzi: Constellation in Red, Yellow and Blue at The Watermill Center, Water Mill, New York. Constellation in Red, Yellow and Blue is a monumental installation of light sculptures created for The Watermill Center by G.T. Pellizzi. The sculptures are derived from invented cosmologies inspired by the mythological, calendrical, and astronomical symbols found on many textiles in The Watermill Collection.
10 June to 11 September 2016 Solo exhibition Keith Sonnier: Light Works, 1968-70 at the Whitechapel Art Gallery, London, England. Making three-dimensional drawings with neon, American artist Keith Sonnier (b.1941) bathes spaces and bodies in the radiance of coloured light. Coming of age with a group of artists that included Lynda Benglis, Mary Heilmann, Bruce Nauman and Richard Serra, he uses a post-minimalist language that is physically immediate yet associative.
.. 9 June to 29 July 2016 Included in group exhibition Summer School at FLAG Art Foundation, NYC, NY. The FLAG Art Foundation is pleased to present Summer School, on its 9th floor gallery from June 9 – July 29, 2016. This expansive group exhibition highlights artists who ignite our imagination through fantasy, humor, and play. Accompanying educational programming will include artist-led workshops, tours, and events, created with and driven by the interests of children and their families.
.. 9 June to 23 June 2016 Solo exhibition at Pace Gallery, London, England. Pace London is pleased to announce a presentation of two neon sculptures by Keith Sonnier in the first floor gallery at 6 Burlington Gardens from 9 to 23 June 2016. The presentation coincides with the Whitechapel Gallery’s exhibition Keith Sonnier: Light Works, which features early neon works by the artist and is on view from 10 June to 11 September 2016.
Concurrently, the Tate Modern is exhibiting a 1969 flock piece by the artist in its permanent collection displays. These presentations offer a rare opportunity in London to see works by Sonnier, who is a seminal figure in post-minimalism... 7 June to 11 September 2016 Included in group exhibition Outrageous Acts and Everyday Rebellions at Kaufmann Repetto, Milan, Italy. In her last novel, The Blazing World, Siri Hustvedt recounts the vicissitudes of a female artist who creates a series of male artist alter-egos to demonstrate that “All intellectual and artistic endeavors, even jokes, ironies and parodies, fare better in the mind of the crowd when the crowd knows that somewhere behind the great work or the great spoof it can locate a cock and a pair of balls.
” The exhibition extends a dialogue exploring womanhood and femininity within the art world, developing this investigation through an all-encompassing approach to the natural coalescing and cross over of what has been conventionally designated as “masculine” or “feminine” in artistic practice... 4 June to 11 September 2016 Two-person exhibition Andy Warhol/Ai Weiwei at The Warhol Museum, Pittsburgh, Pennsylvania.
Andy Warhol/Ai Weiwei, developed by The Andy Warhol Museum in Pittsburgh, PA, and the National Gallery of Victoria, with the participation of Ai Weiwei, explores the significant influence of these two artists on modern and contemporary life, focusing on the parallels, intersections, and points of difference between their practices—Warhol representing 20th-century modernity and the “American century,” and Ai representing life in the 21st century and what has been called the “Chinese century” to come.
.. 3 June 2016 Review by Tom McGlynn of solo exhibition Green God at Mary Boone Gallery and Callicoon Fine Arts, NYC, NY, in The Brooklyn Rail online. The first time I saw a grouping of Sadie Benning’s more recent paintings was at the Greater New York show at PS1 in 2015 – 16. Seen from afar they read loosely as geometric abstractions, residing formally somewhere between Mary Heilmann’s deadpan blocks of color and connective tissue, and brightly patterned, mid-20th century Naugahyde upholstery.
Yet there was something quite different and unique about these works. Up close one could discern their jigsaw-like fabrication with each aqua resin and wood section carefully sanded to round each edge. Due in part to their asymmetry, these sections, painted in semi-gloss or matte colors, pulse gently together with a subtle, claylike vibration. Given the fairly reductive forms of these paintings, it was a surprise to discover a pictographic figuration popping up and boldly inhabiting the works at the artist’s concurrent shows at Callicoon Fine Arts and Mary Boone Gallery.
.. 2 June to 6 December 2016 Solo exhibition at Yorkshire Sculpture Park, Wakefield, England. This was the first UK museum exhibition of work by the renowned American artist KAWS, whose wide ranging practice includes painting, sculpture, graphic design, toys and prints. The expansive Longside Gallery featured the artist’s large, bright, graphic canvases immaculately rendered in acrylic paint, alongside towering sculptures in fibreglass and wood.
The historically designed landscape of YSP became home to a series of monumental and imposing sculptures in KAWS’s trademark style – nostalgic characters in the process of growing up... Summer 2016 Gatefold cover for Artforum issue on Art and Identity, Summer 2016. 28 May to 2 July 2016 Included in group exhibition Fractured at Simon Lee Gallery, Hong Kong. Simon Lee Gallery Hong Kong is proud to present Fractured a selected group exhibition exploring one of modernism’s most characteristic formal strategies, the fracturing of the picture plane.
Just as the Renaissance development of perspective yielded the possibility of the representation of three dimensional space in a two dimensional plane, so the modernist device of splitting the picture plane by means of formal fault lines suggested the simultaneous presentation of multiple viewpoints, and opened the door to abstraction... 27 May to 22 July 2016 Solo exhibition at Galerie Andrea Caratsch, Zurich, Switzerland.
26 May to 16 December 2016 Solo exhibition Liu Xiaodong – Painting as Shooting at the Faurschou Foundation, Copenhagen, Denmark. Painting as Shooting is conceived as an exhibition in three chapters, curated by Jérôme Sans and produced by Faurschou Foundation, in Venice, Beijing and Copenhagen. The first step, which took place at the Cini Foundation for the 56th Venice Biennale, was the first major European institutional exhibition to fully explore Liu Xiaodong’s unique practice, as one of China’s most influential painters of the last two decades.
The second, presented by Faurschou Foundation in its Beijing space, presented the most recent series of works created by the artist during his stay in Ordos in Inner Mongolia. The last chapter, mixing the first two shows, represents the most updated survey on Liu Xiaodong’s work... 22 May 2015 to 10 July 2016 Included in group exhibition Eye Pop: The Celebrity Gaze at the National Portrait Gallery, Washington, DC.
Brad Pitt, Oprah Winfrey, Katy Perry, Britney Spears, Peter Dinklage, Eminem, Michelle Obama, Sonia Sotomayor, Eva Longoria, Serena Williams, Kobe Bryant, are some of the people featured in "Eye Pop: The Celebrity Gaze." This exhibition features 53 portraits of luminaries who have been at the top of their fields. See them in drawings, paintings, video portraits, photographs, sculpture, and prints.
Many of these works of art have never been publicly displayed and all recent additions to the museum's collection. Taken together, these portraits allow us to question celebrity and peel back its layers... 20 May 2016 Article by James Adams Evading genre, artist Ryan Mc Namara goes beyond mere performance in The Globe and Mail (Toronto) online. Ryan McNamara doesn’t do pain. Strenuous? Most definitely.
Challenging? Uh-huh. Time-consuming? For sure. Six years ago, when the New York-based performance artist was 30, he spent every day for almost five months taking dance lessons, in public, from various professionals at P.S. 1, an arts centre affiliated with the Museum of Modern Art. He called the whole thing Make Ryan a Dancer, the finale being a marathon of choreography in which McNamara, who at the time was finishing MFA studies in photography and sculpture at Hunter College, busted moves in every room at P.
S. 1... 14 May to 5 June 2016 Solo exhibition Liu Xiaodong in South Africa at Eslite Gallery, Taipei, Taiwan. “Liu Xiaodong in South Africa” will be opened at ESLITE GALLERY on 14 May, exhibiting his life drawings resulted from his project in South Africa (commissioned by LV) in August 2014. During the one month, LIU Xiaodong visited many places: he sketched the wild lives in Hluhluwe-Imfolozi Park and Blyde River Canyon and portrayed the ordinary people in Cape Town and Cape of Good Hope, to name just a few spots.
50 paintings on xuan paper and on photos present the robust people and landscapes in South Africa. They are so powerfully contagious that the viewers can lay aside the differences of ethnicity and culture, observing their lands and lives via the lens of shared humanity... 14 May to 27 November 2016 Included in group exhibition Landscapes After Ruskin: Redefining the Sublime at Hall Art Foundation, Reading, Vermont.
The Hall Art Foundation is pleased to announce a group exhibition curated by American artist Joel Sternfeld to be held in its galleries in Reading, Vermont from 14 May – 27 November 2016. Over fifty artists are represented in Landscapes after Ruskin: Redefining the Sublime, which includes paintings, photographs and sculptures selected by Sternfeld from the Hall Collection. The exhibition will also feature the world debut of Sternfeld’s video work, London Bridge (2016).
.. 13 May 2016 Interview with Diane Solway in W Magazine online, Transgender Artist Sadie Benning Is Not Afraid. Sadie Benning began making videos at age 15, using the PixelVision toy camera the artist got for Christmas that year from Dad, a filmmaking teacher. On New Year’s Eve, Benning sat down in front of the camera for the first time, prompted by the events of a terrible night during which a friend was hit by a drunk driver and Benning witnessed a drive-by shooting while walking home from the hospital.
.. 10 May to 18 June 2016 Two-person exhibition Aaron Aujla & Keith Sonnier at The National Exemplar, NYC, NY. 6 May to 31 July 2016 Included in group exhibition It Was Never Linear: Recent Painting at the Sheldon Museum of Art, Lincoln, Nebraska. This summer, Sheldon Museum of Art will celebrate abstraction in contemporary painting. Twelve artists have been invited to participate in It Was Never Linear, an exhibition of recent paintings and drawings.
Each of the selected works demonstrates a primacy of the act of painting—gestural mark making and attention to surface materiality—over any true representation of form or figure. The participating artists span generations and include Robert Bordo, JoAnne Carson, Dawn Clements, Lois Dodd, Michelle Grabner, Josephine Halvorson, Loren Munk, Joyce Pensato, Colin Prahl, Peter Saul, Barbara Takenaga, and Stanley Whitney.
4 May 2016 Review of performance Battleground by Siobhan Burke, Color Wars That Evoke A Party, in The New York Times. Have you ever noticed that the Peter B. Lewis Theater at the Guggenheim Museum looks like a ’60s sci-fi spaceship or, alternatively, a European parliamentary room? That’s how the artist Ryan McNamara (accurately) characterized it at the premiere of his “Battleground” on Monday night, while smartly shaking up the format of the Guggenheim’s Works & Process series and redefining the term “dance battle.
” “Frank Lloyd Wright did a great job designing my set,” he said during a midshow conversation with Nancy Spector, a former chief curator at the museum, as though the architect had envisioned it, back in 1959, with this very occasion in mind... 2 May to 4 May 2016 Performance of Works & Process commissioned work Battleground at Solomon R. Guggenheim Museum. On May 2, 3, and 4 at 7:30 pm, Works & Process at the Guggenheim presents the premiere of Battleground, a Works & Process-commissioned work by artist Ryan McNamara.
Utilizing a rare residency opportunity spanning five months in Guggenheim’s Frank Lloyd Wright–designed Peter B. Lewis Theater, McNamara, collaborating with a community of nine dancers—including Reid Bartelme, Jason Collins, Dylan Crossman, Fana Fraser, John Hoobyar, Kyli Kleven, Sigrid Lauren, Mickey Mahar, and Brandon Washington—will create a one-of-a-kind “Cosplay-Battle-Ballet” made for the unique architecture of the theater.
.. May 2016 Review by Catherine Taft of Cinderella at Cherry and Martin, Los Angeles, California, in Artforum. Ericka Beckman’s Cinderella, 1986, a 16-mm rendering of the fairy tale, is an Atari-like musical in which the title character staggers through various levels of narrative as if in a video game. As the centerpiece of a spellbinding exhibition, this rarely screened film demonstrated the staying power of Beckman’s work thirty years on.
.. 1 May to 31 October 2016 Solo exhibition Ross Bleckner: Architecture of the Sky at Böhm Chapel, Hürth-Kalscheuren, Germany. 29 April to 15 June 2016 Solo exhibition Ross Bleckner: Forever Overhead at Leila Heller Gallery, Dubai, United Arab Emirates. Leila Heller Gallery Dubai is pleased to present an exhibition of new work by Ross Bleckner from April 29th to June 15th, 2016. The artist’s first major exhibition in the region features ten large-scale paintings as well as smaller canvases, wherein according to the artist, “the architecture of place meets the architecture of the sky”, revealing phenomena of paint and light, in an oeuvre teetering between a call for salvation and a silent abyss.
.. 22 April to 19 June 2016 Solo exhibition Liu Xiaodong: Migrations at the Palazzo Strozzi, Florence, Italy. The exhibition, devised and produced by the Fondazione Palazzo Strozzi, showcases a broad selection of paintings, drawings and photographs on which the artist has created during a spell in Tuscany lasting from the autumn of 2015 through to the spring of 2016. The main themes of the work on display are the cities of Florence and Prato and the Sienese countryside, which the artist has observed and experienced through direct contact with the local people, but with a special focus on the local Chinese communities.
.. 7 April to 31 December 2016 Included in group exhibition Less Than One at the Walker Art Center, Minneapolis, Minnesota. Less Than One is an international, multigenerational group show offering in-depth presentations of work from the 1960s to the present by 16 artists central to the Walker’s collection. Included alongside such signature artworks as Sigmar Polke’s Mrs. Autumn and Her Two Daughters (1991) are major acquisitions on view here for the first time, including Ericka Beckman’s You The Better, Film Installation (1983/2015), Adrian Piper’s The Mythic Being: Sol’s Drawing #1–5 (1974), and Renée Green’s Bequest (1991), among other featured pieces.
.. 8 April 2016 to 10 January 2017 Included in group exhibition Zoo Machine at the Musée d’Art Contemporain, Marseille, France. 3 April to 17 July 2016 Included in group exhibition Megacities Asia at the Museum of Fine Arts, Boston, Massachusetts. The accelerated rise of megacities—those with populations of more than ten million—over the last 50 years has profoundly affected the lives of their inhabitants.
Asia is home to more megacities than any other continent: the works by the 11 artists in this exhibition respond to the political, environmental, and social conditions of their home cities of Beijing, Shanghai, Delhi, Mumbai, and Seoul, conveying their textures, proportions, and striking material and visual juxtapositions... April 2016 Review by Johanna Fateman of solo exhibition DICKS OF DEATH at Mary Boone Gallery, NYC, NY, in Artforum.
Judith Bernstein doesn’t mince words—or symbols. Her solo exhibition “Dicks of Death” at Mary Boone Gallery, curated by Piper Marshall, featured a wealth of phallic imagery, from scatological cock-faces and engorged missiles to handsomely forbidding screws... April 2016 Article by Laura Brown Francesco Clemente: Model as Muse in Harper’s Bazaar. Liya Kebede has been modeling for more than 20 years, but she had never before sat for an artist.
It was a particular thrill to sit for Clemente. "I didn't know his work specifically, but when I found out that he had painted the portrait of Gwyneth Paltrow in [the 1998 film] Great Expectations, I was so excited," she says. "I remember when I watched that movie, the portrait really touched me. I don't know why. Then to suddenly see my portrait done in the same way, it meant a lot to me."... 31 March 2016 Article by Laura van Straaten 80s Art World “It Boy” Ross Bleckner Is Having a New York Moment on Artnet.
com. New York artist Ross Bleckner has work in six new shows on now or opening soon, including his first solo show in the Middle East, opening in April at Leila Heller Dubai, followed by what is sure to be the art happening of the Hamptons this summer, a group show that unites him with his fellow 80s art-world it-boys David Salle and Eric Fischl at the Parrish Art Museum on Long Island... 22 March to 31 August 2016 Solo exhibition You Better Call Saul! at Gary Tatintsian Gallery, Moscow, Russia.
Peter Saul has been deemed the father of Pop Art and a successor to Surrealism. He is one of the most important artists of our time and a consistent “violator of good taste” in art. He is the founder of the unique style of Bad Painting, which is characterized by a bright palette of colors and exaggerated distortion of images – a jubilant depiction of lawlessness and violence in society, which the artist sarcastically criticizes through his “indictments”.
.. 21 March 2016 to March 2017 Outdoor mural installation Untitled (Blind idealism is…) for High Line Art, adjacent to The High Line, NYC, NY. For the High Line, Kruger presents Untitled (Blind Idealism Is…), a new work realized as a hand-painted mural. Continuing her unabashed criticism of culture and power, the mural features the slogan “BLIND IDEALISM IS REACTIONARY SCARY DEADLY,” an adaptation of a quote from Afro-Caribbean philosopher and revolutionary thinker Frantz Fanon, which has appeared in multiple works by the artist.
The original statement by Fanon, “Blind idealism is reactionary,” suggests that political and religious convictions stem from the situations from which they grow, not from the inherent nature of individual human beings. According to Kruger, the work reflects “how we are to one another” within “the days and nights that construct us.” These texts, along with Kruger’s own writings, resonate with particular potency in today’s political climate.
.. 14 March 2016 Review of solo exhibition Barry Le Va: Network in The New Yorker. Like many sculptors who emerged in the late sixties, this American artist took his work off the pedestal and onto the floor. In his latest piece, “Network,” bulky cylinders, chevrons, and pi symbols are laid out in an almost, but not quite, symmetrical arrangement. Most of the elements are cast from the industrial material Hydrostone; aluminum rods are placed to suggest unifying connections between them.
Is this an installation or a sculpture? Le Va’s achievement is that he makes the question moot, creating a pleasant tension between the whole and its parts. 12 March to 5 June 2016 Solo exhibition InFlux Exhibition Series: Will Cotton at the Orlando Museum of Art, Orlando, Florida. Presented here is the first ever exhibition examining artist Will Cotton’s entire working process, from concept sketch, to costumes, to prints and paintings.
Cotton is known for depicting an astonishing world, composed of an abundance of sugary sweets. Figures pose languidly in settings where landscapes are cakes and icing, seas are whipped cream and clouds are cotton candy. These appear to be utopian realms where all desires are indulged without guilt or consequence. The flawless naturalism with which Cotton renders this idealized world makes it both more seductive and more remote from ordinary experience.
.. 12 March to 11 July 2016 Included in group exhibition Don’t Look Back: The 1990s at MOCA at The Geffen Contemporary at MOCA, Los Angeles, California. Don’t Look Back: The 1990s at MOCA comprises works from MOCA’s permanent collection that identify the recent decade’s key concerns and transformations, including many that have not been on view since originally shown and acquired. If the 1980s were shaped by the advent of identity politics, producing significant works that examined the nexus of race, gender, and sexuality, the 1990s both extended and challenged these ideas.
Many artists turned to large-scale installations as a way to convey a complicated interface between the public and the museum, or to articulate the realms of overlap and dissonance in individual and public identities... 9 March to 31 May 2016 Included in two-person exhibition Considering Dynamics & The Forms of Chaos at the Sharjah Art Museum, Sharjah, United Arab Emirates. “Considering Dynamics & the Forms of Chaos” is an exhibition showcasing the work of two artists: Angela Bulloch and Maria Zerres.
Their practice is brought together under one title and framed by the notion of entropy. Entropy is commonly understood as a measure of disorder. It is a key term that characterises the movement towards chaos, and it appears in a variety of fields such as physics, probability theory, sociology and information technology. Entropy is that which structures chaos. Within contemporary art, entropy has emerged to refer to installations often associated with entropic states or with representations of order, disorder and information, and their homogeneity.
Through Angela Bulloch’s (b. 1966, Canada) and Maria Zerres’ (b. 1961, Germany) works, suggestions of entropy transpire in different ways and through their respective artistic forms. Inherent to both artists’ practices is a congruous representation of the idea of a movement towards chaos. March 2016 Interview with Lia Gangitano in BOMB Magazine. If Minimal Art was a response to the implicit power relations that surrounded art production in the '60s—against which practitioners of Minimalism, Conceptualism, and Institutional Critique sought to delineate their work—Sadie Benning has analogously sought to depart from a reliance on the self-obsolescing, corporate tools associated with video (equipment, technology, manufacturing), instead exploring the handmade through materials that maintain a longer, more independent history.
Benning's at times geometric, at times figurative-leaning, work in painting and sculpture represents a parallel to visual and auditory storytelling through video and music. It posits an engagement with abstraction as a performance-based exchange, in both its production and reception... March 2016 Review by Robert C. Morgan in Whitehot Magazine, March 2016, of Robert Barry: Works From 1964 to 2016 at Mary Boone Gallery, NYC, NY.
The lure of the current Robert Barry survey exhibition at the Mary Boone Gallery in West Chelsea begins with an early conceptual piece from the artist’s Psychic Series (1969). Using off-while vinyl letters on a white-painted wall near the entrance, the artist placed the following statement: “Everything in the unconscious perceived by the senses but not noted by the conscious mind during trips to Baltimore during the summer of 1967.
” As a statement unto itself, the words seem to resonate beyond everyday art world gibberish into something deeper – a phenomenological paradigm, perhaps, from another place and time... March 2016 Collaboration with Stüssy for Spring 2016 Artist Series Collection. It was about a year and half ago when I made the trip out to Tomoo’s studio. We were picked up from our hotel and drove for about thirty minutes from Shibuya, to an area that must have been Tokyo’s version of a suburb.
I’d been a fan of Tomoo’s work for some time, so I was psyched to finally meet him. I didn’t really know what to expect. There’s a certain cinematic feel to Tomoo’s work: dark and slightly twisted. It always reminded me of a David Lynch films, or the Twilight Zone. Mainly black and white and super moody, but the subject matter is often pin up girls and wrestlers. The mixture of those things is what I was drawn to.
Highs and lows... 27 February to 10 April 2016 Included in group exhibition Buren, Mosset, Permentier, Toroni at Hunter College 205 Hudson Street Gallery, NYC, NY. This exhibition marks the first critical examination of the significant, albeit brief, work of the BMPT Group, composed of Daniel Buren, Olivier Mosset, Michel Parmentier, and Niele Toroni in 1967. On Christmas night, 1966, Buren, Mosset, Parmentier, and Toroni drafted their first declaration, inviting the public to attend a demonstration at the 18th Salon de la Jeune Peinture, stating: “For the first time, on January 3, 1967, something will happen.
” This event became the first in a series of “Manifestations”—events in various formats, at various locations in Paris. These events criticized the institutionalization and spectacularization of art as well as the public’s passivity, encouraging new modes of critical engagement that defied and denied older exhibition models. Coming out of the political tumult of France in the 1960s, the activities of the group were not hermetic, isolated occurrences, but rather a response to the particular intellectual moment, one defined by radical philosophy and social unrest.
While the legacy of each artist has fallen under the rubric of painting, this strict classification ignores the conceptual, political, and performative impetus in deference to medium. This exhibition seeks to reexamine the BMPT group by placing its work in context with the broader conversations surrounding institutional critique, performance, and the role of painting as a political medium... 26 February 2016 Review by Christopher Knight Keith Sonnier’s neon drawings open portals to another place in the Los Angeles Times online.
Keith Sonnier calls his new wall drawings in neon, wire and electrical transformers “portals,” and their design motifs and titles do refer to forms from ancient Roman and medieval architecture, often ecclesiastical. Elegant and deceptively simple, they display a masterful hand. Humor is part of the reason why. In 13 recent works at Maccarone Gallery, Sonnier stirs it in with a subtle hand. In these sculptures, the white wall is an idealized plane separating space and metaphorically opened by the glowing illumination of neon color.
The shapes are drawn in bent glass tubing and draped wire and they often protrude, sometimes at oblique angles, into the room... 20 February to 2 April 2016 Solo exhibition Space Fiction Object at Galerie Eva Presenhuber, Zurich, Switzerland. In her latest works Angela Bulloch studies how the interaction with objects structures and motivates our movement in space, as well as the differences in our perception of digital and real space.
In doing so, she continues her preoccupation with control systems and the need to decipher them. Her new works include lights that go on and off, thus forcing the viewer to interact with them. Like all of Angela Bulloch‘s control systems, they constantly scrutinize the way we interact with pre-existing sign systems... 20 February to 15 May 2016 Major site-specific installation for group exhibition MashUp: The Birth of Modern Culture at the Vancouver Art Gallery, Vancouver, Canada.
From the moment that Pablo Picasso and Georges Braque undertook the revolutionary gesture of adding a rectangle of floral wallpaper, a newspaper headline or a scrap of sheet music to their compositions, they initiated an immediate and fundamental shift in European art. The resulting explosion of mashup strategies employed across media and movements offers the clearest evidence of the relevance of this process to the growth of visual culture during the 20th century.
From Marcel Duchamp to Jean-Luc Godard, Liz Magor to Isa Genzken, artists of diverse disciplines have adopted and reworked this creative strategy. Taking over all four floors of the Vancouver Art Gallery, this groundbreaking exhibition will offer an international survey of mashup culture, documenting the emergence and evolution of a mode of creativity that has grown to become the dominant form of cultural production in the early 21st century.
13 February to 7 May 2016 Solo exhibition Keith Sonnier: Portals at Maccarone, Los Angeles, California. Sonnier’s by-now iconic work is emblematic of a generation of artists who sought to liberate the artistic encounter from the formal constraints of Modernism to produce a sensory and emotional experience that also extended beyond the Spartan affect of Minimalism. The omnibus category of “post-Minimalism,” however, does not adequately describe both the unique wit and visceral impact that his work evinces.
.. 4 February to 15 May 2016 Solo exhibition Judith Bernstein at the Kunsthall Stavanger, Stavanger, Norway. Kunsthall Stavanger is proud to present the first exhibition in Norway by the prolific New York-based feminist artist Judith Bernstein. Since the 1960s, Bernstein has brazenly provoked audiences and institutions alike with her furious visceral paintings and drawings addressing themes of warfare, sexual aggression, and gender politics – often under the guise of outrageous humor.
Bernstein’s work has been called unrepentant, defined as obscene, and has been the subject of numerous controversies and debates including censorship from the exhibition FOCUS: Women’s Work— American Art in 1974. Often described by the artist herself as “a sledgehammer” and simultaneously “funny and dead-serious,” the artworks are psychologically overpowering and undeniably in your face.
.. 4 February to 15 May 2016 Solo exhibition I Transport at the Sala de Arte Público Siqueiros, Mexico City, Mexico. For his first individual exhibition in Mexico, G.T Pellizzi has proposed to transform the main gallery at Sala de Arte Público Siqueiros into a monumental art shipping crate, using the aesthetics of art packaging as his model. I Transport measures 9.5 x 8 x 3.5 m, with the peculiar feature that it is subdivided into 171 separate and unique pieces.
I Transport (translated from the greek ¨metaphero), alludes to the ontological construction of knowledge, history, memory and aesthetics. The piece strives to sublimate the creative act into one of the most commonplace processes by which the globalization of art occurs: the transportation of artwork, artists, discourse and cultural experience... 27 January to 2 May 2016 Included in group exhibition Bentu: Chinese Artists in a Time of Turbulence and Transformation at Fondation Louis Vuitton, Paris, France.
This exhibition will present a limited selection of twelve very different artists, twelve strong individualities. They share not only the ability to live and work in what is a particularly fast-moving world of "turbulence and transformation," but also a tendency to use multiple means of expression, combining tools supplied by local traditions with the latest sophisticated technologies. Responding with striking swiftness, their work mirrors the new realities of today's China, as manifested in the economy, the environment, cities and international relations, showing a strong awareness of the changing relations between town and country and the great rural exodus.
.. 9 January to 20 February 2016 Solo exhibition Twenty One Watercolors and a Painting at Nicole Klagsbrun Gallery, NYC, NY. A hallmark of Schuyff’s remarkable output since the 1980s has been the interplay of surface pattern and optically convincing geometry, achieved through what Richard Hell has called “masses of color and shades of form.” Drawing fluidly upon modernist and postmodernist approaches to abstraction, Schuyff uses the language of paint to marry seemingly irreconcilable elements: biomorphic shape and algorithmic repetition, allover flatness and tightly rendered drop shadows.
.. 27 December 2015 to 7 February 2016 Solo exhibition at Baldwin Gallery, Aspen, Colorado. 19 December 2015 to 27 March 2016 Included in group exhibition The Street, the Store, and the Silver Screen: Pop Art from the MCA Collection at the Museum of Contemporary Art, Chicago, Illinois. The exhibition is organized around three separate themes that illustrate many artists’ interests during the 1960s and 1970s: the bustling energy of the street, with its preening passersby, garish signage, and automobile-centric organization; the commercialism that supported and surrounded mass produced consumer products; and the allure of Hollywood glamour and celebrity.
Drawn from the MCA Collection and a handful of local loans, these works reveal patterns and preoccupations that connect artists working in otherwise distinct styles and approaches... 9 December 2015 Article by Ryan Steadman Peter Saul & Mary: a Classic Gallery Champions an Old-School Artist in The New York Observer online. Life is long. Just ask Peter Saul and Mary Boone. Combined they have more lives than a crazy cat lady’s Alphabet City apartment can hold, but they’ve each learned from their mistakes—and their successes.
The pairing seemed almost inevitable: the glamorous dealer who launched art stars with big dreams and a healthy disrespect for decorum (like Julian Schnabel and Jean-Michel Basquiat), and the ultimate outsider painter who stubbornly fought off categorization... 2 December 2015 to 20 March 2016 Included in group exhibition Mystifiers at the National Centre for Contemporary Arts, Moscow, Russia.
The Mystifiers exhibition at NCCA is built on the representation of a select series of works by different generation artists, whose art is characterized by the transformation of reality and creation of models of the non-existent. Demonstrating the mutations of the contemporary world, artists underline the importance of the legacy of the main 20th century trends – Dadaism, surrealism, conceptualism, simulationism – for art practices in the 21st century.
By using various art techniques, the art works presented in this project immerse the viewer in a surreal space of fantasy illusions, wonderful or terrible dreams, imaginary worlds and other-worldly “civilizations”... December 2015 Cover painting for 25th Anniversary issue of Martha Stewart Living. In his sweet heaven of a studio in downtown Manhattan, Will Cotton works not just with paint and paper and brushes, but with sugar, flour, and egg whites.
He also, as artists are wont to do, brings in other materials -- in this case, a flexible and inedible substance with which he embellished my Valentino dress. He transformed it from a lacy summer linen frock into an object worthy of inclusion in his idea of a sugary-white winter wonderland, into which he painted me so artistically and beautifully... December 2015 Article by Jeremy Sigler Peter Saul Sabotages Everything, Including Himself in Tablet Magazine.
Imagine a painter who shoots himself in the foot and then puts his foot in his mouth. That's how I'd sum up Peter Saul. His paintings are always the opposite of whatever is considered to be right. And they continue to earn him a reputation as one of the most brutally honest storytellers in postwar, comic-influenced American painting... 30 November 2015 to January 2016 Solo exhibition Damage Control at Bill Brady Gallery, Miami, Florida.
Tokyo-based Tomoo Gokita implements a black and white palette and acrylic gouache create uniquely even surfaces, which are beautiful and disquieting, yet incredibly seductive to the viewer. Gokita continues his monochromatic series that explores the traditional portrait format on a range of scales, using source material from vintage postcards, magazines, found photos, and classic film stills. His distinctive greyscale aesthetic combines deft tonal modeling of figures with a material flatness, both alluding to and obscuring characters appropriated from western popular culture and marginal countercultural sources.
.. 27 November 2015 to 2 March 2016 Included in group exhibition Mutated Reality at Gary Tatintsian Gallery, Moscow, Russia. Art confuses the subject with the predicate and gets lost in the moment when something needs to be expressed triumphantly. Belief in the co-existence of the painting and man in a common dimension ceases. We, however, still believe in something. For example, we believe in the inevitability of mutations, improvements, and instability since the role of such transformations was recognized as a great science.
The artists in “Mutated Reality” mix and stir nostalgia for the past with an unappealing present that is ready to burn any flesh to ashes and vice versa... 23 November 2015 to 31 December 2016 Solo exhibition Artist Rooms: Joseph Beuys at Tate Modern, London, England. German artist Joseph Beuys saw creativity as central to all aspects of human existence. As well as sculpture and performance, his work as an artist came to encompass social theory and political action.
Beuys’s activities became explicitly politicised in the 1970s. A series of confrontations with the Academy of Art in Düsseldorf over the number of students that he could admit to his class led to wider questions about access to education and the relationship between ordinary people and authority. In 1971 he founded a Free Academy and the more overtly political Organisation for Direct Democracy through Referendum.
Beuys argued that social decision-making should be made by the people through referendums rather than elected political parties. It was this concept of ‘direct democracy’ that he explored in his Information Action at the Tate in 1972, from which three of the blackboards shown here are taken. Later he became involved in the German Green Party and organised the planting of 7,000 oak trees around the city of Kassel.
.. 22 November 2015 Article by John Yau The Necessary Insolence of Peter Saul on Hyperallergic.com. Peter Saul has an uncanny ability to seamlessly combine the hilarious and the hideous to great effect. In the middle of chortling at one of his wacky, indecorous paintings, you are apt to suddenly notice an odd and even disturbing detail. Saul may come off as a jaunty humorist, but beneath this jolly lighthearted veneer seethes a volcano of well-honed gripes, peeves, impertinence, skepticism, and outrage, none of which are petty.
His ability to transform fervent indignation into comical absurdity is amply evident when he takes on masterworks of French academic painting, as he does in his recent exhibition, Peter Saul: Six Classics, at Mary Boone... 21 November 2015 to 5 June 2016 Included in group exhibition Surrealism: The Conjured Life at the Museum of Contemporary Art, Chicago, Illinois. Surrealism: The Conjured Life presents more than 100 paintings, sculptures, drawings, and photographs that demonstrate the deep currents that Surrealism sent through the international art world—and especially through Chicago—since its emergence in the first half of the twentieth century.
A global movement that encompassed a wide number of art forms, including film, theater, poetry, and literature, Surrealism came of age with poet André Breton’s formal declaration in 1924. This deeply emotional and psychological art form flourished in the 1930s and 1940s—turbulent times of economic instability, rapidly changing social mores, and war... 14 November 2015 to 30 April 2016 Included in group exhibition Painting 2.
0: Expression in the Information Age at the Museum Brandhorst, Munich, Germany. ‘Painting 2.0: Expression in the Information Age’ will be the first exhibition to tell the story of painting’s adaptation, absorption and transformation of information technologies in Western Europe and the United States since the 1960s. Its historical starting point in Pop Art and Nouveau Réalisme’s programmatic appropriation and re-contextualization of commercial imagery precedes the advent of digitalization and the Internet by some thirty years.
Painting’s capacity to absorb and transform other media became explicit at the same moment as its legitimacy was fundamentally challenged by cultural forms of mediation which Guy Debord theorizes in his influential critique as ‘The Society of the Spectacle’ (1967)... 14 November 2015 to 30 April 2016 Included in group exhibition Painting 2.0: Expression in the Information Age at the Museum Brandhorst, Munich, Germany.
‘Painting 2.0: Expression in the Information Age’ will be the first exhibition to tell the story of painting’s adaptation, absorption and transformation of information technologies in Western Europe and the United States since the 1960s. Its historical starting point in Pop Art and Nouveau Réalisme’s programmatic appropriation and re-contextualization of commercial imagery precedes the advent of digitalization and the Internet by some thirty years.
Painting’s capacity to absorb and transform other media became explicit at the same moment as its legitimacy was fundamentally challenged by cultural forms of mediation which Guy Debord theorizes in his influential critique as ‘The Society of the Spectacle’ (1967)... November 2015 Cover artwork and featured in article by Diane Solway Artistic License: Five Takes on Superstar Rapper Drake in W Magazine.
The art world’s most visible populist, the artist Brian Donnelly, who is known as KAWS, has long mined mass consumer culture and its proliferating platforms for his own ends. Taking a page from his teen-hood hero, the Pop artist Keith Haring, KAWS works inside, outside, and well beyond the white cube, seeing art object and product, museum, shop, and street as part of his creative universe. In his hands, iconic cartoon characters like Mickey Mouse and the Michelin Man are reimagined as Everymen you’re as likely to find in the form of a vinyl toy or a Macy’s Thanksgiving Day Parade balloon as you are to see in a gallery or museum.
Meanwhile, his paintings, such as the cover image for this issue, nod to the zonked-out style of Peter Saul, with their exploding neon palette and graphic punch... 30 October to 19 December 2015 Solo Exhibition In the Cosmic Fugue at Rhona Hoffman Gallery, Chicago, Illinois. In the Cosmic Fugue is Rhona Hoffman Gallery’s fourth solo exhibition of Jacob Hashimoto’s enormously imaginative and laboriously created work.
The show will occupy the entire gallery with six new oil paintings and fourteen kite pieces, created from innumerable hand-painted and collaged rice paper and bamboo “kites,” Hashimoto’s signature medium. These visually striking, multi-dimensional works engross viewers through their organizational, geometric complexity, changing sight lines, and sheer beauty... 28 October 2015 to 28 March 2016 Included in group exhibition Cosa Mentale: Art and Telepathy in 20th Century Art at Centre Pompidou Metz, Metz, France.
The exhibition enables the spectator to understand how, throughout the 20th century, attempts to give material and visible form to thought processes coincide with the experiments of avant-garde artists. This fantasy of a direct projection of thought not only had a decisive impact on the birth of abstraction but also influenced surrealism and its obsession with the collective sharing of creation and, in the post war period, it gave rise to numerous visual and sound installations inspired by the revolution in information technology, leading to the declaration of “the dematerialisation of art” in conceptual practices.
.. 17 October 2015 to 6 March 2016 Included in group exhibition Geometric Obsession. American School 1965-2015 at MACBA – Museo de Arte Contemporáneo Buenos Aires, Buenos Aires, Argentina. Fifty years ago the curator William Seitz presented at the Museum of Modern Art of New York an exhibition of optical art entitled The Responsive Eye. With this proposal, he presented a panorama of contemporary pieces that globally brought together works by artists and groups from Italy, Argentina, the United States, England, and Poland among others.
With the help of one of the most important experts of the period and of geometric art, gallery owner Denise René, the exhibition revealed perceptual investigations and retinal effects associated with pure form, color and line... 11 October 2015 to 7 March 2016 Included in group exhibition Greater New York at MoMA PS1, Long Island City, New York. MoMA PS1 presents the fourth iteration of its landmark exhibition series, begun as a collaboration with The Museum of Modern Art in 2000.
Recurring every five years, the exhibition has traditionally showcased the work of emerging artists living and working in the New York metropolitan area. Greater New York arrives in a city and art community that has changed significantly since the first version of the survey. With the rise of a robust commercial art market and the proliferation of art fairs, opportunities for younger artists in the city have grown alongside a burgeoning interest in artists who may have been overlooked in the art histories of their time.
.. 11 October 2015 to 7 March 2016 Included in group exhibition Greater New York at MoMA PS1 Long Island City, New York. MoMA PS1 presents the fourth iteration of its landmark exhibition series, begun as a collaboration with The Museum of Modern Art in 2000. Recurring every five years, the exhibition has traditionally showcased the work of emerging artists living and working in the New York metropolitan area.
Greater New York arrives in a city and art community that has changed significantly since the first version of the survey. With the rise of a robust commercial art market and the proliferation of art fairs, opportunities for younger artists in the city have grown alongside a burgeoning interest in artists who may have been overlooked in the art histories of their time... 26 September to 21 November 2015 Solo exhibition Visitations: G.
T. Pellizzi at The Watermill Center, Water Mill, New York. G.T. Pellizzi curates his work to function in dialogue with the existing Watermill Center Collection and its galleries. The survey of works on view, created by Pellizzi from 2011 to the present, features sculptures, installations, and paintings that engage audiences critically with political, educational, and financial market systems. 9 September 2015 to 3 January 2016 Included in group exhibition A Shared Space: KAWS, Karl Wirsum, and Tomoo Gokita, at the Newcomb Art Museum, Tulane University, New Orleans, Louisiana.
While the three artists’ works in this exhibition have few formal associations, KAWS as the collector, sees commonalities underlying Wirsum’s whimsical and brightly colored figures, Gokita’s sleek grayscale faceless portraits, and his own meticulous, brightly-colored paintings. Ramirez-Montagut explains, “This exhibition is a lyrical exercise in exploring the works’ points of contact as perceived by KAWS, despite their seeming dissimilarities.
The viewer comes to see these artists’ mutual appreciation for popular culture, irreverent iconographies, humor, and impeccable craftsmanship together with a shared use of strong graphic forms that evoke visceral reactions.”... 9 September 2015 to 3 January 2016 Included in group exhibition A Shared Space: KAWS, Karl Wirsum, and Tomoo Gokita, at the Newcomb Art Museum, Tulane University, New Orleans, Louisiana.
While the three artists’ works in this exhibition have few formal associations, KAWS as the collector, sees commonalities underlying Wirsum’s whimsical and brightly colored figures, Gokita’s sleek grayscale faceless portraits, and his own meticulous, brightly-colored paintings. Ramirez-Montagut explains, “This exhibition is a lyrical exercise in exploring the works’ points of contact as perceived by KAWS, despite their seeming dissimilarities.
The viewer comes to see these artists’ mutual appreciation for popular culture, irreverent iconographies, humor, and impeccable craftsmanship together with a shared use of strong graphic forms that evoke visceral reactions.”... 19 September to 13 December 2015 Solo exhibition Ai Weiwei at the Royal Academy of Arts, London, England. Ai became widely known in Britain after his sunflower seeds installation in Tate Modern’s Turbine Hall in 2010 but this is the first major institutional survey of his work ever held in the UK and it bridges over two decades of his extraordinary career.
Curated in collaboration with Ai Weiwei from his studio in Beijing, we present some of his most important works from the time he returned to China from the US in 1993 right up to present day. Among new works created specifically for our galleries and courtyard are a number of large-scale installations, as well as works showcasing everything from marble and steel to tea and glass. With typical boldness, the chosen works explore a multitude of challenging themes, drawing on his own experience to comment on creative freedom, censorship and human rights, as well as examining contemporary Chinese art and society.
.. 31 July 2015 Review by Roberta Smith of solo exhibition Voyeur at Mary Boone Gallery, NYC, NY, in The New York Times. Judith Bernstein’s art has never taken any prisoners. In the early 1970s, she satirized male domination and its failings with wall-size drawings of round-headed screws. They were rendered in hefty strokes of charcoal that gave them both hair and rotary motion. They were unforgettable images — cartoonish one-liners perhaps, but expressing a fury that many women felt.
They became an indelible part of the history of feminist art... July-August 2015 Feature article by Elaine W. Ng Tomoo Gokita: One Thousand Shades of Gray in Art Asia Pacific. Tomoo Gokita is an outsider among Tokyo art insiders. With his boyish charm, he is sociable yet reticent. He regularly declares his love for beer and professional wrestling—particularly the 1976 match between Japan’s Antonio Inoki and American champion boxer Muhammad Ali.
He studies record-album covers rather than art catalogs. So when the easygoing, 46-year-old painter of abstract-figurative canvases—more appreciated in the indie music and zine subcultures than by Tokyo-based curators and gallerists—was given a retrospective in August 2014, “The Great Circus,” at the prestigious Kawamura Memorial DIC Museum of Art, an hour’s train ride southeast of Tokyo, it caught Japan’s art community by surprise.
.. 26 June to 11 October 2015 Included in group exhibition Individual Stories. Collecting as Portrait and Methodology at the Kunsthalle Wien, Vienna, Austria. Photographs, books and knick-knacks: artists collect a variety of objects. Their interest may lie in the formal, the aesthetic or the conceptual. While they generate personal collections regardless of their artistic practice, they also create collections based on artistic methods.
The collection may itself reach the status of a work of art. Individual Stories considers the collection a portrait of its collector and also an artistic method, an expression of curiosity, transforming discovery, or a systematic approach to certain worlds of objects. The result is a compilation of individual collections that could not be more different. 10 June 2015 to 27 March 2016 Solo exhibition KAWS: “ALONG THE WAY” at the Brooklyn Museum, Brooklyn, New York.
Brooklyn-based artist KAWS straddles the line between fine art and popular culture in his large-scale sculptures and brightly colored paintings, thoughtfully playing with imagery associated with consumer products and global brands. ALONG THE WAY, KAWS’s colossal eighteen-foot-high wood sculpture, greets visitors in our Martha A. and Robert S. Rubin Pavilion and Lobby. Portraying a pair of gigantic figures with their heads lowered and with one arm around each other in a gentle embrace, the sculpture alludes to familiar childhood toys and cartoon characters while at the same time transforming their identities with a radical shift in scale, presenting them as monumental cultural presences.
.. 22 May to 22 September 2015 Included in open-air group sculpture exhibition ArtZuid 2015 in Amsterdam, The Netherlands. 1 May to 27 September 2015 Included in the inaugural group exhibition America Is Hard To See at the new building of the Whitney Museum of American Art, NYC, NY. Drawn entirely from the Whitney Museum of American Art’s collection, America Is Hard to See takes the inauguration of the Museum’s new building as an opportunity to reexamine the history of art in the United States from the beginning of the twentieth century to the present.
Comprising more than six hundred works, the exhibition elaborates the themes, ideas, beliefs, and passions that have galvanized American artists in their struggle to work within and against established conventions, often directly engaging their political and social contexts. Numerous pieces that have rarely, if ever, been shown appear alongside beloved icons in a conscious effort to unsettle assumptions about the American art canon.
.. 1 May to 27 September 2015 Included in the inaugural group exhibition America Is Hard To See at the new building of the Whitney Museum of American Art, NYC, NY. Drawn entirely from the Whitney Museum of American Art’s collection, America Is Hard to See takes the inauguration of the Museum’s new building as an opportunity to reexamine the history of art in the United States from the beginning of the twentieth century to the present.
Comprising more than six hundred works, the exhibition elaborates the themes, ideas, beliefs, and passions that have galvanized American artists in their struggle to work within and against established conventions, often directly engaging their political and social contexts. Numerous pieces that have rarely, if ever, been shown appear alongside beloved icons in a conscious effort to unsettle assumptions about the American art canon.
.. 1 May to 27 September 2015 Included in the inaugural group exhibition America Is Hard To See at the new building of the Whitney Museum of American Art, NYC, NY. Drawn entirely from the Whitney Museum of American Art’s collection, America Is Hard to See takes the inauguration of the Museum’s new building as an opportunity to reexamine the history of art in the United States from the beginning of the twentieth century to the present.
Comprising more than six hundred works, the exhibition elaborates the themes, ideas, beliefs, and passions that have galvanized American artists in their struggle to work within and against established conventions, often directly engaging their political and social contexts. Numerous pieces that have rarely, if ever, been shown appear alongside beloved icons in a conscious effort to unsettle assumptions about the American art canon.
.. 1 May to 27 September 2015 Included in the inaugural group exhibition America Is Hard To See at the new building of the Whitney Museum of American Art, NYC, NY. Drawn entirely from the Whitney Museum of American Art’s collection, America Is Hard to See takes the inauguration of the Museum’s new building as an opportunity to reexamine the history of art in the United States from the beginning of the twentieth century to the present.
.. 11 April to 16 May 2015 Solo exhibition Bésame Mucho at Honor Fraser Gallery, Los Angeles, California. On view will be new works by Tokyo-based Tomoo Gokita, who is acclaimed for his black and white gouache canvases that incorporate exceptional draftsmanship with surreal imagery. Gokita continues his monochromatic series that explores the traditional portrait format on a range of scales, using source material from vintage postcards, magazines, found photos, and classic film stills.
With a celebrated career in illustration and graphic design, Gokita first rose to prominence after creating a series of newsprint books. In 2005, he turned to painting, developing a distinctive greyscale aesthetic that combines deft tonal modeling of figures with a material flatness, both alluding to and obscuring characters appropriated from western popular culture and marginal countercultural sources.
Alongside Gokita's intimate portraits of individuals, this exhibition will feature large-scale group compositions that are an evolution in the artist's oeuvre... 7 April to 15 May 2015 Solo exhibition Never Comes Tomorrow at Studio La Città in collaboration with Doubletrouble95, Milan, Italy. On the occasion of the MiArt and Salone del Mobile fairs, Studio la Città will be transferring to a temporary venue in Milan, DOUBLETROUBLE95, to propose an installation by Jacob Hashimoto: Never Comes Tomorrow, already exhibited with great success in Verona last May.
This installation will once again be a proof of Hashimoto's maniacal interest in architecture, space and time, and the astral dynamics of planets and constellations. Proportions, relationships, and surfaces will be closely interrelated with the building hosting the large-scale installation, in this was concretizing DOUBLETROUBLE95's dream: to host the site-specific work of an important international artist.
April 2015 Review by Brian Droitcour of exhibition Gently Used at Mary Boone Gallery, NYC, NY, in Art In America. Galleries are where performance art goes to die. Ryan McNamara knows this, and does what he can to animate his work’s remains. His latest exhibition was full of what seemed like semi-monuments to past performances, as though they were commemorative gestures that got cut short halfway through, diverted to an alternate scenario.
There were things that could have been statues, plaques or portraits honoring the live event that was, but dressed up with leftover costuming, they’ve become objects in performance drag... April 2015 Review by Michael Wilson of exhibition Gently Used at Mary Boone Gallery, NYC, NY, in Artforum. “This guy,” says Ryan McNamara, holding up a small black-and-white photographic cutout, “was a contestant in a dance contest I held in Buenos Aires.
The entire dance floor was full of 150 people all melting on top of each other and rolling all over each other.” The fond recollection, and the frenetic clip that follows it, appears in a video on McNamara’s website... 5 March 2015 Review by Tom Mc Glynn in The Brooklyn Rail online. Olivier Mosset isn’t really an abstract painter, because his paintings aren’t abstractly real. This might seem like a tautological game, but it is actually at the root of Mosset’s raison d’être.
His recent show of monochrome works at Koenig & Clinton continues the artist’s longtime presentation of intimately actualized surfaces, proportional discretions, and subtle colorations that retain a fulsome sense of the real without being representational or subject to the burden of mimetic ventriloquism. His work is radically immanent in the best sense of the concept, a concept which states not only “what you see is what you see,” but, and more importantly, “what you sense is all that you will ever see.
”... 14 February to 30 April 2015 Solo exhibition at Akira Ikeda Gallery, Berlin, Germany. 6 February to 14 March 2015 Solo exhibition at Koenig & Clinton, NYC, NY. Koenig & Clinton is pleased to announce its second solo exhibition with Olivier Mosset, featuring recent large-scale monochromes. For nearly 50 years, Mosset’s paintings have challenged conventional notions of artistic originality and production.
The current exhibition groups paintings of varying shape and scale, emphasizing the artist’s continual consideration of surface, color, environment, and repetition... 5 February 2015 Interview with David Galensen Inside New York’s Art World: An Interview with Hilary Harkness in The Huffington Post. The art world is occupied by a huge range of artists - emerging and established - who are being captured by all forms of media, including social.
Just as technology has given artists additional outlets for making and sharing work, it has provided writers with access to artists and artworks across the globe and expanded the dialogue. It can be overwhelming to keep track of it all, but it’s also an exhilarating moment... February 2015 Article by Kimberly Nichols Beyond Modernism with artist Jim Isermann in Desert Magazine. Isermann's three-plus decades of work chronicle the conflation of post-war industrial design and fine art through popular culture alongside an unflagging belief in the beauty of utilitarian design and a fervent experimentation with material.
Early furniture pieces and tableaus were envisioned as prototypes for mass production. Thermal dies were created for large-scale vinyl decals. The decals in turn led to vacuum formed styrene wall panels. Stained glass works and fabric wall paintings continued his exploration of pattern and repetition. Many of his site-specific installations, like the façade of the Los Angeles' MTA Customer Center, referenced the vernacular solution of transforming out-of-date architecture into a dialogue within the community.
In the past 15 years he has been utilizing digital technology to design elements for commercial manufacture. Overall, his work has matured from didactic representations of the failure of modernism to the physical embodiment of pure design... 17 January to 14 March 2015 Included in two–person exhibition Carlos Bunga & Olivier Mosset at Christopher Grimes Gallery, Santa Monica, California.
Olivier Mosset emerged in the 1960s and has since been associated with a multitude of art historical movements, involving himself in both the European and American artistic and critical contexts. In anticipation of many artists, who in the 1980s would use appropriation to critique Modernist authority, Mosset called into question the painter’s gesture and signature by sharing styles and dissolving authorship to reach a “degree zero” of painting.
This line of questioning continues in this exhibition where he will present a wall painting composed of four yellow and blue triangles in the form of a motif found from a mural discovered in Cuernavaca in Mexico. In addition, a horizontal grey and white wall painting will extend the length of the nearly 45-foot wall spanning the Main and South galleries. Mosset’s paintings possess a strong materialist sense that recalls Malevich, Reinhardt or Stella while simultaneously maintaining a subtle relationship to the readymade and appropriation.
.. 17 January to 5 July 2015 Solo exhibition Ed Paschke: Visionary from Chicago, 1968-2004 at the Ashmolean Museum, Oxford, England. Ed Paschke: Visionary from Chicago, 1968–2004 is the third in the Ashmolean’s series of exhibitions of post-war and contemporary art presented in collaboration with the Hall Art Foundation (USA). Curated by Sir Norman Rosenthal, a selection of paintings spanning Paschke’s artistic career from 1968 to 2004 will be on view.
Part of a group of artists known as the Chicago Imagists who emerged in the 1960s, Paschke (1939–2004) was strongly influenced by media imagery and popular culture – newspapers, magazines, advertisements, film and television. In works like Hilda (1973) and Mannish Boy (1970), his brilliantly coloured, provocative and surreal paintings of circus freaks, tattooed ladies, transvestites, wrestlers and hairy wingtip shoes, explore the underbelly of urban life and a dark side of Pop Art.
.. 10 January to 14 February 2015 Solo exhibition Fuzzy Math at Susanne Vielmetter Los Angeles Projects, Los Angeles, California. Susanne Vielmetter Los Angeles Projects is pleased to announce our first solo exhibition with New York based artist, Sadie Benning, "Fuzzy Math," in all four gallery spaces. This new body of work marks our contemporary cultural moment; the genesis of a traumatic event and its aftershocks.
"Fuzzy Math," a phrase borrowed from set theory, has become a popular phrase in politics over the last fifteen years. Classical set theory operates on a binary function: either an element is included or not included in the set. The fuzzification of mathematics can be dated to the 1965 publication of Lotfi Asker Zadehs influential work "Fuzzy Sets". In the ensuing decades, this new set of operations expanded algebraic functions to account for uncertainty or incomplete information.
In fuzzy math, elements are ambiguous and can exist in a state of becoming a part of a set. This math has been used to develop the truthy justifications and denials for events ranging from wars in the Middle East, global warming, speculative sub-prime mortgages, and election results. Benning's new body of work is a meta-examination of the anxiety produced by the fall-out of these fuzzy ideologies, the radically new world that they have created, and the many repercussions of making decisions based on incomplete information that are only beginning to come to light.
.. January 2015 Review by David Frankel of exhibition Skyfarm Fortress at Mary Boone Gallery, NYC, NY, in Artforum. To say that Jacob Hashimoto makes kites, then strings them together in the air, will do as a description of his process but gives no sense at all of the visual quality of Skyfarm Fortress, 2014, the installation that made up this show... 25 October 2014 to 31 January 2015 Included in group exhibition Disturbing Innocence at FLAG Art Foundation, NYC, NY.
Disturbing Innocence features over 50 historical and contemporary artists whose use of dolls, toys, mannequins, robots, and other surrogates forms a deep and powerfully expressive genre. The exhibition poses profound questions surrounding social constructs of youth, beauty, transformation, violence, sexuality, gender, identity, and loneliness. Inspired by Eric Fischl’s own childhood in suburban Long Island, NY, and his early career as an artist working in New York City in the 1980s, Disturbing Innocence presents a subversive and escapist world at odds with the values and pretensions of polite society.
6 September 2014 to 15 August 2015 Included in group exhibition NOW-ISM: Abstraction Today at the Pizzuti Collection, Columbus, Ohio. In one weird, hyphenated word, NOW-ISM insists that the works in it are both of the moment—particular to the circumstances in which they were made and attuned to the digital phase of the Information Age as it hurtles us through the first decade and a half of the twenty-first century—and outside of time: unshackled by the constraints of context and the restrictions of history because, as works of art, they are fully present in the moment and available to be intimately engaged by innumerable viewers, over and over again, in perpetuity.
The beauty of now is that it never grows old. Its biggest drawback is that it doesn’t last: Constantly slipping away, now never lets anyone rest with what happened yesterday. To attend to the works in this exhibition, you have to be on your toes, at the top of your game, attentive to details, alive to subtlety, and in touch with the peculiar poetry of visual experience... 4 July 2014 Review by Roberta Smith of solo exhibition Ed Paschke at Mary Boone Gallery, NYC, NY, in The New York Times.
Think of Ed Paschke, the great American painter who died in 2004, was a formalist in wolf’s clothing, or the most abstract of Photo Realists. His dystopic photo-based paintings depict the denizens of a lurid dark side, where crime, race, clubs and an eerie glamour mixed with intimations of violence. Yet equally important to the tamped-down electricity of these works is Paschke’s sense of allover tautness: the shallow space, the way his images are embedded in monochrome fields of color, and his finely wrought painting technique of tattoo-like filigrees and stippled textures.
.. 2 June 2014 Review by of solo exhibition The Birmingham Project at Mary Boone Gallery, NYC, NY, in The New Yorker. To commemorate the fiftieth anniversary of the 1963 bombing of the Sixteenth Street Baptist Church in Birmingham, which killed four young girls, the Chicago-based artist photographed black children in Alabama, who are the same age as the victims were. He also shows portraits of adults in their sixties, the age the girls would be if they’d lived.
Formally posed, often in church pews, and seen here in pairs, Bey’s sitters regard us with sombre expressions. But the artist is not heavy-handed; the soulful concern that grounds his pictures also buoys them. 7 March to 25 May 2014 Included in the group exhibition Whitney Biennial at the Whitney Museum of American Art, NYC, NY. The 2014 Biennial brings together the findings of three curators with very distinct points of view.
There is little overlap in the artists they have selected and yet there is common ground. This can be seen in their choice of artists working in interdisciplinary ways, artists working collectively, and artists from a variety of generations. Together, the 103 participants offer one of the broadest and most diverse takes on art in the United States that the Whitney has offered in many years. 7 March to 25 May 2014 Included in the group exhibition Whitney Biennial at the Whitney Museum of American Art, NYC, NY.
The 2014 Biennial brings together the findings of three curators with very distinct points of view. There is little overlap in the artists they have selected and yet there is common ground. This can be seen in their choice of artists working in interdisciplinary ways, artists working collectively, and artists from a variety of generations. Together, the 103 participants offer one of the broadest and most diverse takes on art in the United States that the Whitney has offered in many years.
Title: Dematerialisation Of The Art Object