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.
G O S E E: 1 0 1 S P R I N G S T R E E T
September of last year we expressed our excitement for the future of 101 Spring Street - Today the Judd Foundation will be taking online reservations for visits to 101 Spring Street - Donald Judd’s formerly private living and work space and now permanent installation in New York’s downtown Soho neighborhood. The foundations mission to maintain and preserve Judd’s spaces through facilitating public access hopes to promote an elevated comprehension of the artist’s legacy. Guided tours by artists starting the 18th of June will offer visitors direct engagement with Judd’s vision and art. In the meantime, look back at the past three years of the restoration and prep for the opening here.
“Art is made as one lives. It must be as decisive as acts in life…” - Donald Judd, 1983
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.
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.
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.
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
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.
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.”
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.