A view into our world at Suzanne Lovell, Inc. and the ideas that inspire us daily.
Finally! AD features one of our favorite artists, Katharina Grosse!
What can feel so powerful about her work is the absolute purity of color, a misty yet vibrant spray-gun applied to an entire building throws scale out of the window. Bulbous forms and linear architecture alike are treated by the artist’s “sprays”.
Her work is about experience, and about seeing. In 1998, Grosse started using spray paint, which she says allowed her physical gestures to mimic sight. “The way the eyes move up, look down, grasp the space—spray paint is very equal to that movement.”
Then, in 2004, she spray painted her Dusseldorf bedroom – the bed, the clothes, the writing desk, the music, an open suitcase. Klaus Biesenbach, the Director of MoMA PS1, took note of her project in 2008 when Grosse transformed a Lower Ninth Ward structure nearly razed by Hurricane Katrina as a part of Dan Cameron’s Prospect New Orleans; he asked her to produce 2016’s “Rockaway!” installation at Fort Tilden on a structure affected by Hurricane Sandy.
For her Gagosian show (January 19 –March 11, 2017; West 24th Street, New York), she produced mesmerizing, vibrant snippets that are uniquely and clearly hers, a view into her larger full room installations in 2-D on monumental canvases. According to the artist, the most obvious difference between her canvases and her installations is time. “The intensity with which I do the site-specific pieces is always very strong, because I work, like, ten days straight; there is nothing that interferes with my activity,” she says. In the studio, on the other hand, she may have 15 canvases at various stages of completion, allowing her to develop each one gradually over the course of months—often with the aid of stencils made from foil, foam, and cardboard.
Although Cecily Brown has moved on, Gagosian continues to entice the best paint-loving collectors with this exhibition by Katharina Grosse. We shall see if the De La Cruzes grabbed one of these canvases this December at Basel!
Our friends at McKinnon and Harris recently gave us a present that we adore! The picture book The Gardens on the Alhambra Hill, A Mediated Vision by Fernando Manso is comprised of beautifully photographed landscapes of Alhambra Hill in Spain and quotes corresponding to the gorgeous landscape photographs.
Gardens have been a vital part of humanity for the last several hundred years. Specifically at Alhambra Hill, which was built from the eleventh to the fifteenth centuries, the gardens have been an inseparable part of this uniquely special place.
Fernando Manso, the Spanish photographer who took these book's beautiful pictures, is magical with his lens and evokes a feeling of tranquility in the reader rarely found in today's busy world.
Building 104 was part of a 160-hectare area that the Swedish army used to protect the Faro Strait back in 1937. The territory, called Bungenas, was unauthorized to the general public until just 10 years ago. It took a local entrepreneur, Joachim Kuylenstierna, who was fascinated with the area's history, to buy the entire former army site and start this arduous process to repurpose it.
Kuylenstierna's father was part of the military unit based at the site, so naturally, he felt a connection to the land. The process was made more difficult because the entrances had to be excavated, as they had been filled to the very top with gravel and water. It was meant to dissuade anyone from EVER entering the facility. Swedish Fortifications Agency's old drawings indicated an open three-level underground structure existed beyond the rubble. Fascinated with the building, it was very important not to cover up any "clues" signaling to the bunker's original use.
Using bunkers along the Normandy coast as inspiration, the architect, Eric Gardell, didn't add any extensions to go against the integrity of the bunker's original use. No roofs protrude from the ground and no chimneys blow smoke into the air. Further adding to the bunker's interior beauty are the furniture and light fixtures that the architects specifically designed for the home. Stunning... who would have imagined this when purchasing the property sight unseen?
Growing up in Spokane, Washington among the forests of the Olympic Peninsula, it's only natural that George Nakashima was greatly influenced by wood! Nakashima spent his early years traveling the world, eventually securing a job in Tokyo. As soon as the war broke out, Nakashima moved back to the US where he met and married his wife. Sent to an internment in Idaho, the Nakashima's were eventually sponsored by Antonin Raymond. Nakashima came to work on Raymond's farm in Bucks County where he rented a house; in time, purchasing a piece of land and gain on to design and build his own house and workshop.
Nakashima went on to become one of the leading innovators of 20th century furniture design and a father of the "American Craft Movement". One of his greatest honors was bestowed upon him in 1983 when he accepted the Order of the Sacred Treasure, an honor given by the Emperor of Japan and the Japanese government.
Nakashima's signature woodworking design was his large-scale tables made of large wood slabs with smooth tops but unfinished natural edges, consisting of multiple slabs connected with butterfly joints.
We love this quote which sums up Nakashima's perspective perfectly "...My relationship to furniture and construction is basically my dialogue with a tree, with a complete and psychic empathy ... Since design need not be a personal expression, the function of construction becomes primary."