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I N S I D E  w i t h  M A T E R I A L  L U S T 

F R I E Z E  A r t  F a i r  N e w  Y o r k  2 0 1 3

The year marked the second annual edition of FRIEZE New York. Showcasing leading emerging and established talents, FRIEZE continues to bring an “international focus to the dynamic contemporary art scene in New York.” Over 180 international contemporary art galleries from 32 countries, 55 participating galleries from the fair’s post New York City, drew collector, curator and journalist attendance and elevated sales across all levels of the market “confirming the fair’s place in the contemporary art calendar.” Take a look INSIDE with MATERIAL LUST. 

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A PAGE FROM + M E M P H I S  george j sowden, interior design, 1983

A PAGE FROM + M E M P H I S 

george j sowden, interior design, 1983

GO SEE: COLLECTIVE .1 DESIGN FAIR

PIER 57 new york, May 8th -11th, 2013

Today marks the inaugural edition of Collective .1 Design Fair assembled by designer Steven Learner’s “powerhouse” Collector peers, such as Kyle DeWoody and Cristina Grajales. An exclusive curated collection of only 20th and 21st century design, Learner is confident this fair has “staying power” for New York. Read more of the preview with Introspective Magazine here.

G O  S E E:  LINE VAUTRIN: 100 years of magnitude

MASON GERARD new york, may 16th - june 21st 2013

“Line Vautrin, a revered French artist of the 20th Century once dubbed ‘the poetess of metal’ by Vogue… Vautrin’s artistic signature is very much in evidence in this extraordinary highly personal collection of her extremely rare and intricate detailed boxes. Carefully amassed over more then 40 years, it’s the largest of its kind to ever reach the market. It began with decades’ worth of romantic gifts from the collector’s father to his mother, with the son often brought along on visits to both Vautrin’s boutique and her legendary Marais atelier in the 50s and 60s.”

e t t o r e  s o t t s a s s  j r.  D E S I G N E R  vase, model no. y34, from the ‘yantra series,’ 1970 PHILLIPS DESIGN LONDON 25 APRIL 2013 In the late 1960s Ettore Sottsass identified with design as an ‘instrument of social criticism, paving the way to the season of radical design and the assertion of the need for a new aesthetic.’ Memphis then emerged at the end of 1980 around its central figure, Sottsass, disregarding all academic convention and substantially influencing design. “The prevalent criterion for design was no longer the ability to solve technical problems, but rather the object’s capacity for communication. It was necessary to confront the multiplicity of Postmodern styles in order to capture the Zeitgeist in a fast-paced, experimental design idiom.” via.

e t t o r e  s o t t s a s s  j r.  D E S I G N E R 

vase, model no. y34, from the ‘yantra series,’ 1970

PHILLIPS DESIGN LONDON 25 APRIL 2013

In the late 1960s Ettore Sottsass identified with design as an ‘instrument of social criticism, paving the way to the season of radical design and the assertion of the need for a new aesthetic.’ Memphis then emerged at the end of 1980 around its central figure, Sottsass, disregarding all academic convention and substantially influencing design. “The prevalent criterion for design was no longer the ability to solve technical problems, but rather the object’s capacity for communication. It was necessary to confront the multiplicity of Postmodern styles in order to capture the Zeitgeist in a fast-paced, experimental design idiom.” via.

A PAGE FROM + BRANCUSI  timidity, undated no.201 

A PAGE FROM + BRANCUSI 

timidity, undated no.201 

r i c h a r d  r o t h  A R T I S T cinzano, 2006 “they are geometric, nearly minimal, but always quiver with this sense of being sourced elsewhere…” essays on new painting

r i c h a r d  r o t h  A R T I S T

cinzano, 2006

“they are geometric, nearly minimal, but always quiver with this sense of being sourced elsewhere…” essays on new painting

c o n s t a n t i n  b r a n c u s i  A R T I S T  torso of a young man, 1923 “a central figure of the modern movement and a pioneer of abstraction. his sculpture is noted for its visual elegance and sensitive use of materials, combining the directness of peasant carving with the sophistication of the Parisian avant-garde.”

c o n s t a n t i n  b r a n c u s i  A R T I S T 

torso of a young man, 1923

“a central figure of the modern movement and a pioneer of abstraction. his sculpture is noted for its visual elegance and sensitive use of materials, combining the directness of peasant carving with the sophistication of the Parisian avant-garde.”

A PAGE FROM + FRIEZE no. 153  MY INFLUENCES alexandra bachzetsis  bluff, 2009 acting as artist, performer and choreographer, Bachzetsis’ performances address stereotypical representations of the female body in popular culture, show business and the sex industry. 

A PAGE FROM + FRIEZE no. 153 

MY INFLUENCES alexandra bachzetsis 

bluff, 2009

acting as artist, performer and choreographer, Bachzetsis’ performances address stereotypical representations of the female body in popular culture, show business and the sex industry. 

G O  S E E:  M A N  R A Y  P O R T R A I T S 

national portrait gallery through 27 may 2013

“Focusing on his career in America and Paris between 1916 and 1968, the exhibition highlights Man Ray’s central position among the leading artists of the Dada and Surrealist movements and the significant range of contemporaries, celebrities, friends and lovers that he captured…”

r o b e r t  m a p p l e t h o r p e  P H O T O G R A P H E R patti smith, 1976 In the 1970’s Mappplethorpe acquired the polaroid camera saying he felt “it was more honest”. this later influenced his interest in documenting the New York S&M underground scene in the late 1970’s, shooting his circle of friends and acquaintances - musicians such as Patti Smith, artists, socialites and pornographic film stars. “the result resulting photographs are shocking for their content and remarkable for their technical and formal mastery.”

r o b e r t  m a p p l e t h o r p e  P H O T O G R A P H E R

patti smith, 1976

In the 1970’s Mappplethorpe acquired the polaroid camera saying he felt “it was more honest”. this later influenced his interest in documenting the New York S&M underground scene in the late 1970’s, shooting his circle of friends and acquaintances - musicians such as Patti Smith, artists, socialites and pornographic film stars. “the result resulting photographs are shocking for their content and remarkable for their technical and formal mastery.”

a n d y  w a r h o l  A R T I S T debbie harry polaroid, 1980 Warhol’s polaroids served as studies for his later paintings and silkscreens capturing the Studio 54 era celebrity subjects to the unknown individuals and objects that fascinated him. 

a n d y  w a r h o l  A R T I S T

debbie harry polaroid, 1980

Warhol’s polaroids served as studies for his later paintings and silkscreens capturing the Studio 54 era celebrity subjects to the unknown individuals and objects that fascinated him. 

G O  S E E:  S I N I S T E R  P O P

whitney museum through march 31, 2013

“Sinister Pop presents an inventive take on the Museum’s rich and diverse holdings of Pop art from the movement’s inception in the early 1960s through its aftershocks a decade later. Although Pop art often calls to mind a celebration of postwar consumer culture, this exhibition focuses on Pop’s darker side, as it distorts and critiques the American dream.”

I N S I D E  w i t h  M A T E R I A L  L U S T 

D A N   F L A V I N  A N D  D O N A L D  J U D D 

david zwirner new york through 16 march 2013

“As two of the most significant American artists of the post-war period, Dan Flavin and Donald Judd’s practices have come to define what has been referred to as Minimalist art… The installations in this exhibition are in dialogue with each other and share a distinctive and coherent understanding of the object, the space, and the viewer.”  watch here and take a look INSIDE.

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REQUIRED READING

M I N I M A L I S M  A N D  A F T E R

a collection of Minimalist and Postminimalist tendencies from the 1960s to the present. this volume tracks some of minimalism’s major contributions rejecting symbolic or narrative material.