g u y   d e   r o u g e m o n t   D E S I G N E R 
lampe nuage, 1970

g u y   d e   r o u g e m o n t   D E S I G N E R 

lampe nuage, 1970

m a t e r i a l  l u s t  E D I T I O N S
Alchemy Table
gallery edition No.3 / 2014
The third edition of MATERIAL LUST’s Geometry is God is the Alchemy Table. Transmutation of Base Metal into Nobel Metal. 

m a t e r i a l  l u s t  E D I T I O N S

Alchemy Table

gallery edition No.3 / 2014

The third edition of MATERIAL LUST’s Geometry is God is the Alchemy Table. Transmutation of Base Metal into Nobel Metal. 

e r i c  t i m o t h y  c a r l s o n  A R T I S T 
captured grid 

e r i c  t i m o t h y  c a r l s o n  A R T I S T 

captured grid 

m a t e r i a l  l u s t  E D I T I O N S 
Pagan Chairgallery edition no.2 / 2013
Introducing the second of the MATERIAL LUST gallery editions - Pagan Chair : Geometry is God. Each is one of a kind made of matte black powder coated steel with smoke lucite seat, this chair is meticulously handcrafted in New York City by master artisans.

m a t e r i a l  l u s t  E D I T I O N S 

Pagan Chair
gallery edition no.2 / 2013

Introducing the second of the MATERIAL LUST gallery editions - Pagan Chair : Geometry is God. Each is one of a kind made of matte black powder coated steel with smoke lucite seat, this chair is meticulously handcrafted in New York City by master artisans.

i s a b e l l e  w e n z e l  P H O T O G R A P H E R
building images, 2010
Amsterdam based artist Wenzel creates surreal and dynamic studies of human bodies in motionin small spaces such as a cubicle or corridor in the most impossible positions. “Their faces don’t matter, Wenzel turns the female body into an object, and in doing so gives the viewer a disquieting feeling." This series named ‘Building Images’ is a homage to the boredom we often experience working in an office environment.

i s a b e l l e  w e n z e l  P H O T O G R A P H E R

building images, 2010

Amsterdam based artist Wenzel creates surreal and dynamic studies of human bodies in motionin small spaces such as a cubicle or corridor in the most impossible positions. “Their faces don’t matter, Wenzel turns the female body into an object, and in doing so gives the viewer a disquieting feeling." This series named ‘Building Images’ is a homage to the boredom we often experience working in an office environment.

GO SEE:  PHILIP - LORCA  DICORCIA  HUSTLERS
david zwiner through 2 november 2013
roy, ‘in his 20s’, los angeles, california, $50, 1990-92

"Taken just over twenty years ago in Los Angeles in the vicinity of Santa Monica Boulevard, Hustlers is considered to be one of diCorcia’s best-known series. It features male prostitutes posing for the camera for a fee loosely equivalent to what they would charge for their sexual services… Many of his works appear to depict random events in public settings, yet rarely involve chance. For this project, each composition was carefully arranged before nearby hustlers were approached, and the result is a series of loaded narratives that revolve around a tension between the subject’s unique presence in front of the camera and the artist’s predetermined idea for the shoot… As diCorcia notes, ‘these were men who portrayed themselves as a product in a city that sells fantasy, violence, and sex. As if they were one more thing to be consumed… Photography is an exchange.’”

GO SEE:  PHILIP - LORCA  DICORCIA  HUSTLERS

david zwiner through 2 november 2013

roy, ‘in his 20s’, los angeles, california, $50, 1990-92

"Taken just over twenty years ago in Los Angeles in the vicinity of Santa Monica Boulevard, Hustlers is considered to be one of diCorcia’s best-known series. It features male prostitutes posing for the camera for a fee loosely equivalent to what they would charge for their sexual services… Many of his works appear to depict random events in public settings, yet rarely involve chance. For this project, each composition was carefully arranged before nearby hustlers were approached, and the result is a series of loaded narratives that revolve around a tension between the subject’s unique presence in front of the camera and the artist’s predetermined idea for the shoot… As diCorcia notes, ‘these were men who portrayed themselves as a product in a city that sells fantasy, violence, and sex. As if they were one more thing to be consumed… Photography is an exchange.’”

i s a m u  n o g u c h i   A R T I S T
sculpture from phaedra, 1958

i s a m u  n o g u c h i   A R T I S T

sculpture from phaedra, 1958

G O  S E E: R O B E R T  I R W I N:

s c r i m  v e i l - b l a c k  r e c t a n g l e - n a t u r a l  l i g h t

whitney museum of american art, new york

through 1 september 2013

Part of the Whitney’s collection, Scrim veil—Black rectangle—Natural light, made specifically for the Museum’s fourth floor, “became a kind of legend, though many vistors at the time failed to see it. ‘People would step out of the elevator, say, Hmm, empty room, and hop back in before the doors shut,’ Mr. Irwin recalled.The commission has not been shown since its 1977 debut, a essential moment that would set the course for light and space artist Robert Irwin. A large-scale installation that engages the iconic Breuer building through natural light that emanates from the large window in the fourth floor gallery space is accompanied by a digitized version of the original Robert Irwin 1977 catalogue, which includes a combination of photography, project plans, and theoretical texts such as Irwin’s seminal essay ‘Notes Toward a Model’ in which he discusses his thinking about aesthetics, perception, conception, experience and compounded abstraction. 

m a t e r i a l  l u s t  E D I T I O N S 
EO & EAM Portemanteaulimited gallery edition no.1 / 2013
Introducing the first of the MATERIAL LUST gallery editions - the EO & EAM Portemanteau. Equal parts Primitivism and Surrealism, these coat stands are each one of a kind meticulously handcrafted in New York City by master artisans.

m a t e r i a l  l u s t  E D I T I O N S 

EO & EAM Portemanteau
limited gallery edition no.1 / 2013

Introducing the first of the MATERIAL LUST gallery editions - the EO & EAM Portemanteau. Equal parts Primitivism and Surrealism, these coat stands are each one of a kind meticulously handcrafted in New York City by master artisans.

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

W R I G H T  I M P O R T A N T  D E S I G N  A U C T I O N 

preview now through the 5th of June - auction June 6th.

Ettore Sottsass’s Del Diavolo Mirror above is just one of several thoughtfully curated pieces in WRIGHT’s exclusive Important Design Auction June 6th. Richard Wright’s 30 years of experience has made the Chicago Auction House the ‘go to’ for collectors cultivating an extensive collector base specializing in design and art of the 20th century. Material Lust got the opportunity to go INSIDE with Richard Wright as he prepares for auction day.

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

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