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World Monuments Fund Honors Architect Peter Marino and Dr Marilyn Perry

The Venetian-inspired 35th Annual Hadrian Gala underscored the importance of preserving our most cherished sites

David Graver

4 November 2024

Founded in 1965, World Monuments Fund (WMF) is the leading independent organization dedicated to preserving the world’s most treasured places. WMF has worked at over 700 sites in 112 countries. Through its biennial, World Monuments Watch program, the New York City-based non-profit organization uses cultural heritage conservation to empower communities and improve human well-being. In partnership with local communities, funders and governments, WMF inspires an enduring commitment to stewardship for future generations.

For their 35th Annual Hadrian Gala, held at the New York Public Library, the organization celebrated the preservation of global cultural heritage. This year’s event honored architect Peter Marino and Dr. Marilyn Perry for their significant contributions to safeguarding Venice’s architectural treasures. The gala raised a record-breaking $2.1 million, underscoring the importance of preserving the world’s most cherished sites.

The evening was a Venetian-inspired affair, with guests donning black tie and masquerade attire, adding an air of mystery and elegance. The night featured a performance by Grammy Award-winning opera singer Anthony Roth Costanzo and the Opera Philadelphia Orchestra. A dinner menu crafted by renowned chef Daniel Boulud echoed the theme with Venetian mask-shaped wafers accompanying the first course. The programming wrapped with a lively auction led by Christie’s.

Bénédicte de Montlaur, President and CEO of World Monuments Fund, emphasized the organization’s mission as a global movement dedicated to preserving cultural heritage. She noted the power of these efforts to foster respect and understanding across diverse communities.

Marino, recognized for his work with Venetian Heritage, expressed his gratitude for the honor and reaffirmed his commitment to preserving Venice’s unique architectural and artistic legacy. Dr Perry, a long-serving board member of World Monuments Fund, reflected on the organization’s growth and its pivotal role in the global heritage movement. Ultimately, the Hadrian Gala, supported by generous contributions from Gregory Annenberg Weingarten and the Stavros Niarchos Foundation, continues to be a vital platform for recognizing leaders in conservation and promoting the preservation of the world’s art and architecture.

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The Dynamic Collaboration of SIKE and T.E.I.N. Clothing

The Berlin-based artist and renowned London fashion design duo join forces

David Graver

17 July 2024

In a fusion of visual art and wearable art, Berlin-based artist SIKE and renowned London fashion design duo T.E.I.N. (The End is Near) have joined forces to create a capsule collection alongside works on canvas. Their collaboration is not just an exhibition or a collection; it’s an experience that blurs the lines between canvas and clothing, inviting audiences into a world where every piece tells a story and every stitch breathes life into art.

SIKE, a rising star in the contemporary art scene, has been captivating audiences with his bold, immersive installations and vibrant murals. Known for pushing the limits of traditional art forms, SIKE’s work often incorporates elements of street art and multimedia. His recent projects, including city-wide installations and interactive exhibits, have solidified his reputation as a visionary who can transform any space into a canvas for storytelling. His work has been exhibited at the Circle Culture Gallery in Berlin as well as in the iconic Bierpinsel. Inspired by graffiti, abstract and expressionist styles, SIKE’s artistic journey reflects a diverse range of influences. 

Since its establishment in 2013, T.E.I.N. has been the brainchild of Italian visual artists Daniele Barletta and Lorenzo Delli Colli. The designers’ diverse background informs T.E.I.N.’s unique style, drawing inspiration from cyberpunk, the early ’90s New York Club Kids scene and web culture. TEIN’s designs also reflect elements of NURAVE, Swag and iconic pop culture imagery, resulting in clothing that appeals to the Tumblr generation with its internet rave and kawaii vibes.

T.E.I.N.’s influence extends to dressing high-profile celebrities, including Kesha for her Billboard cover and appearance on Graham Norton, Billie Eilish for her appearance on Jimmy Kimmel Live, and Lil Nas X. The brand prides itself on its sarcastic and irreverent attitude, reflecting cultural evolution through fashion. By embracing digital culture, T.E.I.N. underscores the idea that fashion is inherently about connectivity, favoring the digital realm (URL) over the physical one (IRL).

The collaborative project is inspired by the desire to merge the visceral impact of visual art with the tactile allure of fashion. SIKE and T.E.I.N. found common ground in their aim to disrupt norms and create something truly unique that resonates on multiple sensory levels. They sought to blur the conventional distinctions between art forms, resulting in pieces that are both visually stunning and functionally wearable. They found harmony in their shared vision of pushing boundaries. For SIKE, this meant translating his dynamic visual style into three-dimensional, wearable pieces. For T.E.I.N., it involved rethinking the structural possibilities of fashion design, using canvases as fabrics.

This past May in New York SIKE, presented NYNW, an homage to the groundbreaking 1981 NEW YORK / NEW WAVE exhibition that featured icons like Basquiat and Futura 2000, serving as a debut of the collaboration to the world. Embroidered canvases covered in stitching and hanging thread were suspended from metal chains to reflect the dynamic movement of the works. The ready to wear collection was showcased on opening night in a catwalk meets performance art piece choreographed by SIKE. Accompanying the catwalk was an EP produced with acclaimed talents such as Gezin from the 808 Mafia, featuring four tracks that enhanced the visual experience. 

“The collaboration with T.E.I.N. has been an exhilarating journey. Combining the raw energy of my art with the avant-garde vision of T.E.I.N. has allowed us to create something truly unique—wearable pieces that are as much about expression as they are about fashion. Additionally, working together on the canvases has been a highlight, blending our distinct styles into cohesive masterpieces. It’s a celebration of creativity where every garment tells a story, and every design challenges the ordinary,” SIKE shares on opening night. 

The ready-to-wear collection embodies a rebellious, underground aesthetic that merges streetwear with avant-garde design. The “I <3 NYNW” hoodie and T-shirt showcase a playful twist on iconic logos, blending humor with urban sophistication. The collection embraces a palette of dark, muted tones interspersed with striking pops of pastel hues, reflecting a clash between the bleak and the whimsical. Fabrics are carefully selected to combine both style and durability, with hoodies and pants made from high-quality cotton blends that offer a soft touch against the skin while maintaining a structured form.

Accessories such as caps and balaclavas add a daring edge to the lineup, with the striking horned balaclava acting more as a sculpture than an everyday wearable piece. The overall aesthetic is rooted in subversive themes and countercultural movements, resulting in fashion that not only stands out but also evokes a visceral response.

Barletta and Colli share with COOL HUNTING, “This collaboration merges our avant-garde fashion with SIKE’s raw, energetic art, resulting in pieces that are as expressive as they are stylish. Our work together on the works on canvas has been incredibly rewarding, creating a dynamic fusion of our creative worlds. It’s about crafting a narrative through every stitch and stroke, challenging conventions and celebrating individuality.”

By defying traditional boundaries, SIKE and T.E.I.N. are crafting wearable stories that challenge and inspire. This project serves as a reminder of art’s power to transcend mediums and engage audiences in new, exciting ways. 

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Photo London 2024 Showcases the Boundless Potential of Photography

The annual fair has evolved into a critical platform for artists to explore and expand the boundaries of photographic expression

David Graver

5 June 2024

As the historic Somerset House once again became a focal point for the art world, Photo London reaffirmed its status as a premier event in the realm of contemporary photography. Relaunched in 2015, this annual fair has evolved into a critical platform for artists to explore and expand the boundaries of photographic expression. The recently concluded edition presented an extraordinary array of works that epitomized the innovative spirit of the medium.

Highlights include pioneering works that merge photography with cutting-edge technology, transforming still images into dynamic video art and immersive installations. Sculptural pieces that incorporate photographic elements invite viewers to explore the physicality of the medium in novel ways. From the ethereal to the provocative, the fair’s diverse array of exhibits showcases the boundless potential of photography as a versatile and ever-evolving art form.

Amidst the sea of pristine white cubes typical of art fair booths, the presentation by Galerie Bacqueville stood out with its striking blue-painted walls. The deep, immersive blue transformed the booth into a distinct, almost ethereal environment fit for the mesmerizing and complex works by Thomas Devaux. In his series Dichroics, Devaux positions dichroic glass in front of his photographs, encasing them in gold-leafed frames. The interplay between the light, the glass and the gilding creates dynamic, captivating pieces that are challenging to photograph but encourage viewers to interact and capture their reflections.

Trolley Books and Michael Hoppen jointly presented Siân Davey‘s award-winning series and new publication, The Garden. The exhibition aimed to recreate the intimate and beautiful space depicted in Davey’s photographs. In the East Wing of Somerset House, a small, enclosed booth was transformed into an enchanting setting with grass and wildflowers. A centerpiece of the exhibit was the original armchair featured in many of the photographs. Visitors were encouraged to sit in the armchair, peruse the book and appreciate the surrounding flowers and three framed prints. 

Spazio Nuovo’s presentation of synthetic photography created by Giuseppe Lo Schiavo was a mesmerizing blend of realism and digital artistry, captivating viewers with its serene depiction of windowed seascapes. The hyper-realistic quality blurs the line between reality and digital manipulation, inviting contemplation on the nature of visual perception and the artifice inherent in all photography. The play of light and shadow on the white walls and floor surrounding the images enhances the lifelike quality, making the scenes appear as though they could be actual views from a contemporary seaside home. The series not only highlights the technological advancements in digital art but also reflects a broader theme of escapism and the longing for connection with nature, themes that resonate deeply in our increasingly digital world. 

Verse Solos presented Vacation, a series of 500 works by Finnish artist Roope Rainisto. The exhibition room captures the essence of a summer vacation, featuring vibrant beach-themed photographs and a playful installation with deck chairs, beach balls and a striped umbrella set against a classic architectural backdrop. Rainisto employs AI-based generative techniques to transform idealized holiday images into abstract and distorted scenes. These works explore the artist’s fascination with creating liminal spaces that navigate the boundaries between the familiar and unfamiliar, as well as reality and simulation. Picturesque scenes and idealized notions of escapism are juxtaposed with the unsettling realization that true escape from our lives is unattainable. The works carry an uncanny and sometimes grotesque quality, generating a powerful and often disturbing tension that examines the destabilization of our collective perception of reality. This interplay is a key element in Rainisto’s work, using AI’s imperfections as a deliberate tool to underscore the absurdity within aspirational ideals, reframing the mundane and shifting popular perspectives.

Presented by Leila Heller Gallery, Ryan Koopmans and Alice Wexell’s Spring Sonata is a lens-based artwork from their series The Wild Within, which revitalizes abandoned buildings from bygone eras. Using photography of real-world spaces, the artists digitally transform these sites through three-dimensional techniques. The featured building is an abandoned residence from the 1700s in Northern Italy, with crumbling walls adorned with hand-painted scenes of the myth of Niobe by Nicolò Contestabili. Koopmans and Wexell use this backdrop to unleash their creativity, reinterpreting the space and transforming it into a new state. The artists’ process is taking the architectural ruins, digitally infusing vegetation, modifying structures and lighting, and altering scenes to rejuvenate these empty spaces. The resulting artworks create a surreal blend of past and future, natural and manmade, physical and digital, and real and imaginary. The artwork evokes a sense of surreal tranquility while reflecting on architectural history and its interaction with nature and time. Many buildings featured in The Wild Within have been demolished in recent years, highlighting the theme of time’s passage in the cycle of growth and decay.

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Global Dialogues at the 60th Venice Biennale

Exhibitions intricately woven into the fabric of Venice’s historic and modern spaces

David Graver

2 May 2024

Amid the grand spectacle of art, culture and dialogue that defines the 60th Venice Biennale, a series of peripheral events emerge, each offering a unique perspective on contemporary artistic expression. These events, intricately woven into the fabric of Venice’s historic and modern spaces, extend the dialogue initiated by the Biennale beyond its primary venues, inviting locals and international visitors alike into a broader exploration of global themes. From avant-garde exhibitions nestled in ancient palazzos to innovative performances that animate the city’s hidden courtyards, these events enhance the vibrancy of the Biennale. Here, artists, curators and spectators converge for conversations that challenge, inspire and redefine the boundaries of contemporary art.

Malevich.io and TCollection’s I’m Not Afraid of Ghosts

Curated by Svetlana Marich and Sarah McCrory, I’m Not Afraid of Ghosts delves into various facets of femininity. It explores the physicality of the female body, societal expectations and women’s roles, as well as delving into abstract analyses of interpersonal relationships and the typical roles women play within them. The exhibition features works by 33 artists, including Marlene Dumas, Tracey Emin, Jenny Holzer and Issy Wood. Alongside the artworks, visitors can experience an original composition by Oliver Leith, a renowned British composer whose performances include venues like the Royal Opera House and The Forge. Notably, this marks the public debut of pieces from the TCollection, entrepreneur Tatiana Fileva’s private collection, and the inaugural exhibition by the multidisciplinary platform Malevich.io in Venice.

Ben Brown Fine Arts’ Planète Lalanne

Named Planète Lalanne, this exhibition is a comprehensive display of acclaimed artistic duo Claude and François-Xavier Lalanne taking place in the historic Palazzo Rota Ivancich in Venice. Curated by Jerome Neutres, the fantastical sculptures, furniture and objets d’art are strategically positioned throughout the palazzo, engaging in an intimate dialogue with its distinctive surroundings. This placement highlights their clever functionality and surreal whimsy, transforming the location into an enchanted “Palazzo Lalanne.”

Featuring one of the largest Lalanne collections to date, it marks the first occasion such an extensive exhibition has been hosted in Italy. Among the showcased works are the most comprehensive collections of bars created by François-Xavier during his lifetime, including a Sauterelle bar—a counterpart of which is owned by the British Royal family. Additionally, visitors can admire every size iteration of Claude’s iconic Choupatte and a custom Lalanne bed, specifically commissioned for Ben Brown’s personal collection, among other rare treasures. With a history of close collaboration with Claude and François-Xavier Lalanne spanning over two decades, Ben Brown Fine Arts has previously organized exhibitions at its London and Hong Kong galleries, promoting the work of these legendary French artists to a global audience.

Sam Spratt’s “The Monument Game” Presented by 1OF1

1OF1 presents the first physical exhibition of Sam Spratt‘s work in Venice, marking  a significant milestone for the digital artist. The exhibition features Spratt’s groundbreaking piece entitled “The Monument Game.” Although Spratt initially trained in classical oil painting and drew inspiration from masterworks of the Dutch and Italian Renaissance, he has since ventured into creating dynamic series in blockchain-based digital art, such as “Luci.” “The Monument Game,” as the largest expansion of “Luci,” is showcased in a large-scale, participatory format, captivating audiences in Venice. Collaborating closely with leading artists and institutions like MoMA, M+ and Serpentine Galleries, 1OF1 aims to exhibit, contextualize and support art of the digital age.

Ai Weiwei’s Neither Nor Presented by Galleria Continua San Gimignano

Named Neither Nor, the extensive exhibition by celebrated Chinese contemporary artist Ai Weiwei currently showcases a substantial number of new pieces by the artist, and it stands as one of the first instances where such a significant collection of his Lego artworks is displayed together in a single setting. “Neither Nor” also marks the first solo exhibition by Ai Weiwei at Galleria Continua’s renowned San Gimignano location in over a decade, offering visitors an immersive experience into the practice of one of the most influential artists of our time.   

Fondazione Prada’s Monte di Pietà

Fondazione Prada presents Monte di Pietà, a project by artist Christoph Büchel, at Ca’ Corner della Regina. Exploring the historical significance of the venue, once home to the Monte di Pietà of Venice, Büchel creates an immersive experience delving into the concept of debt as fundamental to human society and power dynamics. The project features a fictitious pawnshop mirroring the original layout, alongside Büchel’s work “The Diamond Maker” displaying lab-grown diamonds. Incorporating new productions and references, the project investigates the intersection of property history, finance and the creation of wealth. Additionally, Büchel explores the blurred boundaries between physical and virtual realms, engaging with cryptocurrency and online influence to challenge notions of immateriality and wealth distribution. Through this exploration, “Monte di Pietà” prompts reflection on the historical and contemporary significance of debt, finance, and the preservation of cultural heritage.

Unit London’s In Praise of Black Errantry

Unit presents In Praise of Black Errantry, a collective exhibition that honors the revolutionary essence of the Black creative spirit. Drawing inspiration from Édouard Glissant, a notable French novelist and philosopher from Martinique, the exhibition embodies his concept of errantry as an expression of liberty and defiance. This idea highlights a deliberate form of wandering that transcends geographical boundaries and the confines of exile, symbolizing both escape and spontaneous adaptation. Errantry, pivotal in the development of Black modernism, has inspired the harmonic complexity of jazz, a culture of dissent and the spirit of rebellion.

Curated by Indie A. Choudhury from The Courtauld Institute of Art in London, with assistance from Kelsey Corbett of Unit, the exhibition feature the works of 19 artists from the Afro-diaspora, spanning both modern and contemporary periods, including Rachel Jones, Winston Branch, Jean-Michel Basquiat, Claudette Johnson, Stacey Gillian Abe, Hank Willis Thomas, Keith Piper, Anya Paintsil and more.

Fondazione Querini Stampalia’s Ilya and Emilia Kabakov: Between Heaven and Earth

Fondazione Querini Stampalia reactivated Joseph Kosuth’s neon installations following their detailed restoration. These installations, shaped by the artist to spell out fundamental elements like earth, air and water, engage in a dialogue with the venue’s 16th century architecture. This interplay forms a bridge between historical and modern contexts, creating a visual and linguistic interaction that encourages audiences to contemplate the function of art. “The Material of the Ornament,” a permanent piece established for the 1997 Venice Art Biennale and part of the Sarajevo 2000 project, draws inspiration from John Ruskin’s “The Stones of Venice” (1853). It acts as a visual manifesto for Querini Stampalia, symbolizing its dedication to conserving the future.

In addition the Fondazione Querini Stampalia presents a new international exhibition. Ilya and Emilia Kabakov: Between Heaven and Earth honors Ilya Kabakov’s legacy one year after his death. Curated by Chiara Bertola and in partnership with the Ilya and Emilia Kabakov Art Foundation, this exhibit pays homage to a pioneering figure in conceptual art, known for his innovative use of materials and hailed as the 20th century’s most distinguished artist born in the USSR and later a US citizen. This exhibition marks the first occasion where the Kabakovs’ significant works interact with the Fondazione’s historic environment and collections, resulting in unique site-specific pieces.

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Fondation Louis Vuitton’s Mark Rothko Retrospective

A profound exploration of an artist’s journey of transformation

David Graver

20 October 2023

With Mark Rothko at Fondation Louis Vuitton, viewers are treated to a reverie of color, emotion and history as the artist’s vibrant canvases take center stage. This major retrospective, the first of its kind in France since 1999, offers a deep dive into the life and oeuvre of this pivotal figure in abstract expressionism—and features a staggering 115 works drawn from around the world. Born as Marcus Rotkovich, Rothko—a Latvian-born Jewish immigrant—fled to America to escape persecution, landing in New York City, a place that would serve as the backdrop of his formative years as an artist. The pulse and rhythm of the city, from the bustling subways to the towering skyscrapers, informed his early works. These intimate cityscapes capture the duality of Rothko’s existence: an outsider looking in, grappling with the enormity of the metropolis and his place within it. 

From his early beginnings until the pivotal year of 1940, Rothko developed a figurative body of work that was deeply rooted in the exploration of the human subject. His canvases depicted anonymous figures, ranging from nudes to portraits and urban scenes. During this period, Rothko pushed the boundaries of representation to their limits, constantly evolving and simplifying forms. Rothko’s paintings embraced greater fluidity of space and incorporated vegetal and animal forms. Plants, birds, totems and “organisms” drifted through subaquatic spaces, subdivided into differentiated zones. The titles of his works, which would later disappear, provided insights into the content’s evolution toward clarity, aiming to eliminate any obstacles between the artist, the idea and the observer. 

The exhibition commences in Gallery 1, featuring Rothko’s only self-portrait, which dates from 1936. This imposing figure exudes gravitas, with the artist’s gaze concealed behind dark glasses. The self-portrait captures an air of impenetrability, as if Rothko is intensely focused on an inner vision that reveals nothing of the man or the painter himself. 

Influenced by prominent painters such as Milton Avery and Henri Matisse, Rothko’s expressionist brushwork evolved, shaping the early stages of his artistic career. However, as the 1930s drew to a close, Rothko made a significant shift in his artistic direction. He abandoned figuration, feeling that he had been unable to faithfully represent the human figure without distorting its essence. This momentous decision led him to a period of introspection, during which he temporarily ceased painting and delved into the realm of theoretical writing on art, culminating in his posthumous work titled The Artist’s Reality. 

The 1940s brought with them a tumultuous global context, including the horrors of World War II. In response to these challenging times, Rothko, alongside his friends Adolph Gottlieb and Barnett Newman, embarked on a quest to invent what they referred to as a “contemporary myth.” Drawing inspiration from ancient mythologies and totemic forms, Rothko aimed to formulate a universal artistic language as a response to the prevailing barbarism. 

Rothko’s artistic vocabulary began to incorporate biomorphic elements during this period, thanks in part to his exposure to Surrealism. American artists had become familiar with Surrealism since the 1936 exhibition “Fantastic Art, Dada and Surrealism” at MoMA, and the arrival of leading Surrealist representatives in New York City due to their exile. Peggy Guggenheim, a notable figure in the art world, promoted this aesthetic in her gallery, “Art of This Century,” where Rothko first exhibited his work in 1944. 

By the late 1940s, Rothko transitioned into a more abstract phase with his creation of the “Multiforms.” While the initial compositions retained a dense and organic quality, starting in 1948, they began to feature a more defined structure, thinner layers of paint and larger vertical formats. As early as 1949, Rothko introduced a distinctive composition characterized by superimposed rectangles and a luminous, translucent color palette. He abandoned descriptive titles for his works, opting instead to number them.

In the early 1950s, Rothko’s signature style began to emerge. His paintings became instantly recognizable, featuring two or three rectangular, colored shapes superimposed upon each other. This interplay of shapes allowed for an infinite range of tones and values, creating the characteristic vibration that is so closely associated with Rothko’s work. The atmospheric quality of his brushwork bestowed upon the canvas a mysterious and almost magical quality. Rothko himself stated that behind the color, he was in search of light. During this period, the canvases continued to grow in size, enveloping the viewer in their immersive presence. 

At the heart of this exhibition are Rothko’s abstract works from his renowned “Classic” period, which began in the late 1940s. This period is marked by Rothko’s emergence as a unique colorist, whose mastery of color reaches a radiant and mysterious brilliance. Galleries 4 through 11 showcase approximately seventy works from this period, including two exceptional ensembles from the Phillips Collection in Washington, DC, and the Seagram Murals from the Tate Modern. 

The years from 1945 to 1949 marked a decisive shift toward abstraction in Rothko’s art. His paintings broke free from traditional easels and were classified as “Multiforms.” Undefined chromatic fields were populated with biomorphic elements, with thin layers of color replacing traditional drawing. These elements floated in transparent spaces, inviting viewers to explore their enigmatic depths. 

In the early 1950s, Rothko’s art reached its zenith with the creation of what would become his iconic “Classic” works. These paintings featured bright high-keyed colors in a falsely monochromatic or highly contrasted chromatic field. Rectangular shapes of radiant color with undefined edges were layered upon one another, creating a binary or ternary rhythm. Through multiple translucent strata, an infinite range of tones, values, chords and dissonances unfolded, culminating in a flamboyant chromatic apogee. The atmospheric brushwork infused the entire canvas with a mysterious and emotional quality. Rothko’s art was an exploration of light, far more than just color. 

The scale of his paintings continued to grow, enveloping viewers and immersing them in an intimate experience. Rothko’s desire was to create a sense of intimacy through large pictures, where the viewer’s engagement with the artwork was immediate and deeply personal. 

This desire was in part inspired by his fascination with Henri Matisse’s “The Red Studio,” which he had encountered at MoMA. In this painting, a space filled with objects was unified by monochrome color, flattening the space along the picture plane to the extent that the viewer became one with the color itself. Rothko sought a similar effect in his mid-1950s works, expressing his wish to present his paintings as a distinct ensemble within a space saturated with specific colors. This immersive experience aimed to absorb the viewer, offering a sense of contentment. 

Rothko was cautious about his works being perceived as decorative and insisted on emphasizing the notion of light. Yet he acknowledged the sensual and emotional power of his art, recognizing the relationship of pleasure and emotion it forged with its audience. His works were simultaneously serene and intense, and Rothko himself acknowledged the inherent violence concealed within every inch of their surface. The captivating allure of Rothko’s art lies in its ability to elicit profound emotions and reflections. This depth is particularly evident in the Seagram Murals. These works, marked by a darker range of colors, exude a meditative interiority.

Originally commissioned for a dining room designed by Philip Johnson in a Mies van der Rohe building, Rothko eventually abandoned the commission. His desire was to recapture the essence of the space/enclosure he had experienced at the Laurentian Library in Florence. The Seagram Murals, presented here in their entirety as the “Rothko Room” at the Tate, convey a sense of transcendence, inviting viewers to lose themselves in their contemplative depths.

These works feature rectangles that have evolved into more open signs, some interpreting them as portals or thresholds. Color takes on a newfound gravity in this series, with reds and maroons prevailing, albeit with a muted intensity. The relationship with architecture becomes more pronounced, adding a contemplative dimension to the viewer’s experience. 

The journey through Rothko’s artistic evolution culminates in Gallery 10 with the Black and Gray canvases including the monumental work “Cathedral” (1969-70), prominently displayed alongside sculptures by Alberto Giacometti evoking a more austere atmosphere. Giacometti, like Rothko, grappled with constant doubt and a shared sense of humanism, and their works engage in a profound dialogue within the gallery space. Rothko had envisioned presenting these works alongside “The Walking Man” as part of a commission for the new UNESCO building in Paris. These paintings, characterized by contrasting zones of black, brown and blue-gray tones, separated by a continuous line, initially met with incomprehension. Today, interpretations of these late works have evolved beyond mere biographical references to the painter’s health or mental state. In resonance with Giacometti’s sculptures, these canvases convey a density, solemnity and tension that rekindles Rothko’s poignant exploration of emotion in a new form. Contemporary artists have expressed a preference for these late works, praising their aesthetic advancement and their departure from the conventions of abstract expressionism. 

Gallery 11, adjacent to Gallery 10, showcases works from the same period as Rothko’s “Classic” paintings. These oil and acrylic canvases from 1967 to 1970 are a testament to Rothko’s artistic vision. Their bright high-keyed colors dispel any notion that Rothko’s colors merely reflect his psychological state. Instead, they invite viewers to immerse themselves in the radiant and mysterious brilliance of color, transcending the boundaries of emotions and perceptions. In this retrospective, one gets more than just a glimpse of Rothko’s artworks, it is a profound exploration of an artist’s journey of transformation. It transcends time, borders, and language, inviting us to contemplate the depths of the human spirit through the vibrant and emotive strokes of his brush. Rothko’s legacy endures, reminding us of the power of art to engage our emotions and spark introspection.

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Frieze Sculpture 2023 in London’s Regent’s Park

A pensive and reflective exhibition that maintains optimism in trying times

Josh Rubin

11 October 2023

The eleventh edition of Frieze Sculpture brings enticing and compelling works to London’s Regent’s Park. Curated by Fatoş Üstek, the selected works are pensive and reflective of the current global zeitgeist while remaining hopeful and energetic. The sculptures present relevant social and personal themes including existentialism, gender, bodily autonomy and the human subconscious. Works of 21 artists from different cultures will remain in the English Gardens at Regent’s Park until 29 October 2023. The exhibition is free to the public.

Tony Matelli

Tony Matelli’s 2014 sculpture Sleepwalker has made its way to Regent’s Park this year as one of the most compelling works at Frieze Sculpture. The hyperrealist work plays upon our collective fear of the unconscious; it is representative of the ability to be present physically while being entirely somewhere else mentally. Sleepwalker is somehow simultaneously unnerving and comforting, depicting the frightening reality of a lack of control that coincides with releasing our inhibitions. It comments on feeling like an outlier while bringing a touch of familiarity to Frieze Sculpture that feels deeply human and personal.

Ghada Amer

My body my choice, the seminal sculpture by contemporary artist Ghada Amer, is blatant in its willingness to confront its audience with harsh realities. In spelling out the phrase “my body my choice,” the viewer is forced to contemplate the binary between masculinity and femininity, along with the dichotomy of political purpose in the East versus West. Creating a garden within the park itself introduces a lush element of serenity that when juxtaposed with the harsh, red lining of each character is both provocative and compelling. The piece is as aesthetically stimulating as it is mentally mesmeric.

Josh Smith

Josh Smith’s Friend marks the artist’s largest sculpture to date, depicting the Grim Reaper in a metallic medium. This piece, modeled from scans of maquettes that Smith designed from animal shells amongst other materials, is meditative of our own mortality and willingness to accept it. The Grim Reaper, faceless, enveloped in black and red hues, takes on whatever form the viewer desires it to. Smith’s work adds an element of existentialism to Frieze Sculpture that is reflective of human nature and the circle of life while still being visually stimulating, crafting a haunting and intimate ambiance.

Ayşe Erkmen

Ayşe Erkmen’s 2023 work Moss Column initially seems self-explanatory, but upon more thorough viewing there is more to the piece than what initially meets the eye. The five-meter tall column is composed of stone and etched in green moss, almost blending in with Regent’s Parks flora and fauna. At the top of the column lies a copper tube that gradually feeds the moss with water, causing the piece to develop more moss as the copper turns more and more green via oxidation. Part of this piece’s magic relies on the fact that it is constantly in flux, growing and changing in front of the audience’s eyes.

Yinka Shonibare CBE RA

British-Nigerian Artist Yinka Shonibare CBE RA’s Material (SG) IV is a vibrant and striking addition to Frieze Sculpture. The work resembles fabric flowing in the wind, frozen in time. There is a dreaminess about the piece that is both liberating and imaginative. It is reflective of the historical ability to change and evolve. The fabric that inspired the work became representative of African identity, though the design was originally Indonesian-inspired and was primarily sold by the Dutch. Due to the intersection of each of these three cultures that contributes to the fabric’s history, Material (SG) IV ruminates upon the way that we are all connected to one another. It is unifying and uplifting.

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NFT Paris: Pairing the Physical and Digital

Tapestries, apparel, documents and more real-life items

Katie Olsen

3 March 2023

Physical pieces linked to digital goods have been buzzing around web3 from the early days of the term “phygital,” the slightly confusing “digital twins,” Gmoney’s take with “networked products” when he launched 9dcc and multiple other references. This past week at NFT Paris, a handful of high-profile projects continued linking the physical and the digital in a thought-provoking way that may help convert those still skeptical of NFTs.

“The Final Frontier,” the latest chapter of the Tom Sachs: Rocket Factory project, is focused on creating a metaverse of planets, space stations and other elements that are inspired by dystopian and bizarre environments. “The Final Frontier” features 1,000 handmade, generative 3D planets and 10,000 space station apartments that hover in the void. These elements are designed to be viewed on 3D world-building platform Monaverse, the leading platform for fully custom interactive worlds.

Attendees roaming NFT Paris stumbled across the Tom Sachs: Rocket Factory Indoctrination Center within the arts section, which included a range of immersive features such as Sachs’ sculptures and visuals of the worlds he created for The Final Frontier metaverse. The staff operated a live marathon “indoctrination” and intake activation, allowing interested parties to jump headfirst into their new galaxy. Over 300 participants went through the experience process and received a physical, personalized, official NFC-chipped web3-enabled identification card powered by IYK, a product that allows users to verify IRL ownership and attendance. Participants were able to choose from over 1,000 worlds and 10,000 apartments for their ID cards, making the experience personalized and interactive.

Danit Peleg, a pioneer in 3D-printed fashion debuted a new collection inspired and funded by Nouns, an “open source” Creative Commons 0 brand controlled by those who hold Nouns NFTs. The garments were designed using OPTITEX, a pattern-making software that enabled Danit to create 2D and 3D versions. The collection was printed using proprietary filaments that are being developed by Moon Creative Lab and Peleg and utilizing 3D-printed technologies including FDM, Polyjet and Multi Jet Fusion.

Each look is inspired by a different Noun NFT and the result is a strong representation of the color, whimsical design and playful essence that the Nouns themselves possess. One garment is emblazoned with a red CC that could be interpreted as a play on Chanel’s logo while also being a nod to Creative Commons 0, in which the intellectual property rights of a work of digital content have been relinquished. Another standout in the collection is a skirt comprised of numerous iterations of a Noun, with their signature glasses.

Not too far away at Le Bon Marché Rive Gauche, Art Blocks Engine, design brand TRAME and web3 product studio Crypto Packaged Goods in partnership with French atelier Néolice launched Navette—a series of 200 generative artworks and loom-woven physical counterparts by artist Alexis André. The collaboration brings together a generative art project, 3D printing and textile craftsmanship, realized in two parts.

First, a series of generative works created by André were released via Art Blocks’ blockchain technology and a collector buying experience created by Crypto Packaged Goods. Second, the generative code was fed into a digital loom to create one-of-a-kind, large-scale physical tapestries of the artist’s work, which then were claimed by eight owners of the original digital artworks. André revealed the first digital output live alongside its physical prototype in an immersive exhibition that showcased the development process and trip to atelier Néolice (located in Creuse in central France).

For art patrons who are still reticent to adopt NFTs, the physical object helps collectors feel more secure about collecting the corresponding digital object. The conversations and activations linking physical art to digital art could be just what’s needed to galvanize art collectors that still consider NFTs “just jpegs.”

Hero image courtesy of Art Blocks

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Frieze Sculpture 2022: Large-Scale Highlights

Five of our favorite pieces at the outdoor show in Regent’s Park

Katie Olsen

24 October 2022

Open now through 13 November and free to visit, Frieze Sculpture—curated by Claire Lilley—returns to London’s Regent’s Park for the 10th consecutive year. Sprawled throughout open greenery, each of the 19 large-scale sculptures proves itself to be as ideologically challenging as it is attractive, with sculptures exploring complex themes like environmentalism, materiality and the metaphysical. Spending time alongside all of these sculptures leaves visitors moved by their intensity, both physically and emotionally; five, however, stood out for the immense reactions they conjure.

Ugo Rondinone’s “yellow blue monk”

Swiss artist Ugo Rondinone has been celebrated for years for his work, with a particular emphasis on his lively and vibrant sculptures. Presented by Gladstone Gallery, “yellow blue monk” (2020) is one such piece. Standing at four meters tall, this limestone sculpture ponders the nature of environmental transcendence. Rondinone chose to utilize limestone because its numerous folds and breaks have the ability to mimic the movements we see in garments worn by monks and nuns while still remaining conscientious of the natural world, using a common stone rather than something metallic. Viewers are prompted to consider the notion that nature makes it possible for the monotonous to coexist alongside the metaphysical seamlessly as the neon yellow and blue monolith stands above them. Our environment is our greatest enabler when it comes to introspection.

Shaikha Al Mazrou’s “Red Stack”

Acclaimed artist and educator Shaikha Al Mazrou’s “Red Stack” (2022), presented by Lawrie Shabibi, is both introspective and colossal in nature. The massive piece, consisting of eight red geometric forms stacked on top of one another, prompts audiences to reckon with the overwhelming vastness of the space around us. Constructed from steel, it’s been shaped to resemble a softer, more flexible material similar to a balloon or pillow. Al Mazrou unifies the otherwise incompatible concepts of harshness in industrialism and softness in form by shaping steel into a yielding and delicate configuration. “Red Stack” invokes contemplations of simplicity and abstraction in its presentation.

John Giorno’s “SPACE MIRRORS MIND”

American artist, poet and late husband to Rondinone, John Giorno passed away in 2019 but his foundation continues to advance his legacy by posthumously exhibiting some of his previously unseen works. This particular piece, presented by Almine Rech, titled “SPACE MIRRORS MIND” from the artist’s Stone Poems series ruminates upon the dichotomy between the physical and the abstract. The glacial granite rock serves as a reminder of the tangibility of objects, while the poem engraved upon it speaks to the uncertainty and flexibility of language. There is an irony present throughout this piece, calling upon the viewer to reckon with the absurdity of rocks and language merging to become one. Words have the ability to be in flux, while material objects like the stone itself are embedded with certitude, yet this does not necessarily mean that the two must oppose one another.

Jordy Kerwick’s “Vertical Plane Me”

Australian artist Jordy Kerwick challenges the binaries of adolescence and adulthood in “Vertical Plane Me” (2022) presented by Vigo Gallery. The piece’s title refers to Ken Webster’s 1989 book The Vertical Plane which centers on various people who have, over centuries, all inhabited the same cottage at some point. By drawing inspiration from Webster’s book and reworking it conceptually into the medium of visual art, Kerwick’s own willingness to explore the boundaries of time and aging becomes apparent. The sculpture itself is mystical and magical at first glance and further exploration reveals Kerwick’s inclination to challenge and redefine concepts that are typically seen as childish or callow, such as the mythical creatures present in the piece.

Alicja Kwade’s “Tunnel – Tell (Ceci Sera)”

Polish artist Alicja Kwade’s “Tunnel – Tell (Ceci Sera)” (2020) poses questions regarding the ideology of reality. The sculpture, presented by König Galerie and Pace Gallery, consists of a boulder penetrated meticulously by a cylinder of stainless steel. When placed together, the two objects amalgamate seamlessly into a marriage of the natural and the industrial. By allowing us to see through the boulder, Kwade reminds us that an object’s definition depends on our perception. Reality is not a fixed term, but rather a concept to be questioned. This piece encourages viewers to reflect upon their own physicality and truth, thanks to its inclination to challenge what is already accepted.

All images courtesy of Linda Nylind/Frieze

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Frieze London 2022: Assemblage

Multimedia artworks that explore nature, gender, consumerism and more

Katie Olsen

18 October 2022

The highly anticipated return of Frieze London left viewers with much to meditate on. This acclaimed Regent’s Park art fair served as a peek into the most magical and monumental pieces of the moment. While the sheer number of booths initially seemed overwhelming, the artworks they presented were able to invite the viewer to form more personal relationships. This year’s artists emphasized the increasingly present utilization of assemblage in visual arts, sourcing unique materials that are not stereotypical studio-finds and incorporating them into their pieces to make work more accessible and experimental. The fair struck a particularly relevant chord as some of the prominent themes communicated through assemblage ruminated upon the climate crisis, inherent power dynamics within society and the overarching apocalyptic tones of today.

Sheree Hovsepian’s “Model”

Iranian-American artist Sheree Hovsepian’s piece “Model” (2022) unifies lightness and darkness with a sweet and seductive balance. Composed of gelatin prints, ceramics, nails and velvet, the piece depicts three separate photographs stacked on top of one another, each confined to their own respective boxes. The top image of a severed hand facing upward is reminiscent of our intrinsic humanity and is placed above a spool of twine. Below the twine rests a photograph of a singular leaf. The twine lying between the hand and the leaf serves as a reminder that we are bound to protect our natural environments, yet the fact that the twine rests untouched symbolizes that the relationship between humans and plants could be achieved only if we make the conscious choice to act upon it.

Elias Sime’s “Tightrope”

One of the most alluring pieces of Frieze London, presented by James Cohan, “Tightrope” (2022) is the creative execution of Ethiopian artist Elias Sime and constructed of reclaimed electrical wires and various components on panel, including abandoned computer keyboards. This particular work seamlessly contemplates the presence of technology in our modern global climate, while forcing the viewer to ponder its necessity. In “Tightrope,” Sime incorporates traditional West African techniques in the wires’ presentation, such as weaving and braiding. The piece ultimately, however, represents not only an amalgamation of cultures, but also the universal experience of humanity.

Daniel Otero Torres’ “Las Huellas del Viento” 

Paris-based Colombian artist Daniel Otero Torres‘ five-part piece “Las Huellas del Viento” (2022) is an enriching and mystical commentary on the commodification and exploitation of the natural world. The title literally translates to “the traces of the wind” and that alone prompts viewers to contemplate the way that nature once was versus the way that it is now. Composed of acrylic paint alongside assemblage of corn leaves, seeds and ceramics upon burlap, Torres’ piece feels somewhat apocalyptic, as parakeets fly above barren fields. The stalks themselves are desolate and achromatic, an implied symbolic connection to the ways in which crucial resources are battered and abused in modern agricultural practices. Altogether, the work shines in its ability to turn bleak and disturbing subject matter into a striking and meaningful visual spectacle.

Derek Fordjour’s “Swashbuckler”

Derek Fordjour, an American artist and educator of Ghanaian heritage representing by David Kordansky Gallery, presented “Swashbuckler” (2022), which ruminates on the inherent power of performing. Composed of a collage of cardboard, newspaper and various other materials and pigments, “Swashbuckler” shines a light upon the performer as a subject, and also the ways in which the background textures have their own agency. Themes of heteronormativity, masculinity and general power structures permeate this piece, challenging the ideals of society as we see a male performer dressed in vibrant hues with balloons in hand. Fordjour’s piece is memorable and thought-provoking in its willingness to relay to the audience that masculinity can be expressed in more ways than one.

Anselm Reyle’s “Untitled”

German artist Anselm Reyle’s untitled work presented at 2022’s Frieze London provides viewers with an abstract and compelling conglomeration of neon hues and geometric shapes. The piece seems to comment on the culture of consumerism throughout the globe, using materials that otherwise may seem unremarkable upon first glance. When these materials work together, they complement each other in a way that is simultaneously industrial and artistic. Reyle encapsulates the spirit of the conceptual by pondering the metaphysical in his work, inspiring spiritual and contemplative thoughts within the viewer.

Cecilia Vicuña’s “Precarios”

The Precarios series, by Chilean artist and poet Cecilia Vicuña, consists of numerous small sculptures placed intentionally together, typically fastened with string in order to communicate the illusion of being joined naturally to the viewer. Each dainty sculpture is assembled from various objects, most of which are sourced from nature. Some materials utilized by Vicuña include stone, shells, wood and feathers, invoking obvious feelings of environmentalism and the natural world. Vicuña also uses plastic and human-made debris in order to demonstrate the irrefutable link between our natural climate and the impact that humans and human-made concepts have upon it. Each fragile sculpture is delicate and transient, as Vicuña initially developed this series near the ocean so that each piece would eventually be swallowed by the tide, remarking on the fleeting nature of life and the inescapable reality of erasure.

Hero image courtesy of James Cohan and Elias Sime

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Behind the Design of Williamsburg’s Bathhouse

Co-owners Travis Talmadge and Jason Goodman on their spa for the future in a century-old building

Katie Olsen

29 January 2020

Williamsburg’s aptly named, recently opened Bathhouse—in a renovated 1930s soda factory that was once home to the Brooklyn Bottling Company and Dr. Brown’s Soda—has been renovated and designed by co-founders Travis Talmadge and Jason Goodman in collaboration with Jennifer Carpenter of Verona Carpenter Architects. The space meticulously preserves many of the original elements including the vaulted ceilings, original brickwork and a 100-foot-tall smokestack that now serves as a private ritual bath area. A striking custom concrete walkway flanked by giant infinity mirrored boxes leads guests through well-appointed locker room areas before descending to the 6,500-square-foot subterranean bathhouse.

At the forefront of the space is a custom dark aqua and white Roman bathhouse-inspired mural created by Brooklyn-based artist and illustrator Amit Greenberg. Various cedar wood saunas and a steam room with custom lighting inspired by the night sky activate the space, creating an ambiance that is social and also meditative. Also included are 10 treatment rooms with original ceilings and many eclectic design touches such as kilim rugs, tribal masks, and vintage anatomical illustrations. Hidden away in a quiet corner of the women’s locker area, one can find a ritual room with a single cast iron bathtub at the base of an illuminated 100-foot-tall brick smokestack.

Co-founders Travis Talmadge and Jason Goodman were instrumental in the design process. We sought their additional insight on each space within.

How did you choose the space?

Travis Talmadge: We knew that Williamsburg was the right neighborhood for us; the community here is so focused on fitness, mindfulness and design. We also knew that we wanted to be in an old building with great bones. We have a very modern vision as to what a bathhouse can be: blending the latest technology and modalities with techniques like sauna that go back thousands of years. So for us, an old building shell with a very modern interior was an obvious and natural fit. Just so happens, there are fewer and fewer post industrial buildings laying around in NYC’s great neighborhoods nowadays.

Tell us about the process of converting the space.

Jason Goodman: The building is over 100 years old and hadn’t been occupied in decades, so it was a process to modernize it for our use. The most difficult part was hand-digging the pools and removing all the old machine parts that were buried in the floor. We also came across a boulder in the soil where the hot pool is now that was the size of a Volkswagen. We had to buy a micro-blaster to detonate the boulders in order to break them up into pieces that were small enough to move.

What other bathhouses in the world inspired the design?

TT + JG: We tried to take our favorites from everywhere: we love the character of European bathhouses, the marble of the Turkish hammams, and the clean design from the Japanese onsen. Ultimately, we used those for inspiration but wanted to give this space its own identity entirely and the result is a very modern design inside an otherwise vintage space. The bathhouse is really a product of old and new. We have an experience centered around ancient rituals in a modern, clean space. The design reflects that and literally is a modern build-out inside an old factory. The result is a mix of clean lines and high-end materials with some existing brutalist textures. The whole space features a lot of contrast.

How were the color palettes and materials chosen?

TT + JG: Bathhouse is an elemental place, a place to tap into the fundamental humanity inside all of us. We wanted to keep the design very elemental and simple as well as sticking to natural materials, black and white.

What mood were you hoping to reflect in the design?

JG: A bathhouse from the future—elemental, modern, and intuitive. From our perspective, great design means a space that needs no explanation. You know where to go and what to do, just very natural from a usability perspective.

Images by Adrian Gaut