France is experiencing a Frank Gehry frenzy: While construction of a Gehry-designed steel tower for the LUMA Arles art center in the South of France is still underway, Paris waits for the new glass-enveloped Louis Vuitton Foundation for Creation to open its doors in the Bois de Boulogne at the end of October. Timed to coincide with the public inauguration of the highly anticipated building, the Centre Pompidou hosts an understated yet profound retrospective of the Pritzker Prize–winning architect’s career (on view through January 26, 2015).
The series of exhibition spaces, created by Gehry’s own studio, leads the viewer through the architect’s oeuvre chronologically, charting the stylistic and technological evolution of his career with 67 models and more than 200 sketches. The show opens with his earliest works, including his own 1977 home in Los Angeles, constructed of plywood, wire mesh and corrugated metal (heavily inspired by the rough-hewn materials artist friends Robert Rauschenberg and Jasper Johns used at the time), and moves to the brilliantly engineered, sculptural forms that define his work today. Think: the sinuous metal façades of the Walt Disney Concert Hall and Guggenheim Bilbao. Lesser-known designs are also featured, including a never-realized, coal-shaped skyscraper for a 2007 national design competition held by the nation of Andorra—a contest that was eventually (and perhaps wisely) abandoned.
The showcase culminates, of course, with the exhibition’s raison d’être: a small-scale version of the 150,000-square-foot Fondation Louis Vuitton, its miniature plastic sails ethereally lit beneath exhibition lights. Though hardly comparable to witnessing the real thing once it opens, what this exhibition offers is the rare chance for the spectator to take in these world-famous structures without, for once, being dwarfed by their magnitude. Place Georges Pompidou; 33-1/44-78-12-33; centrepompidou.fr.
This decade-old contemporary space was cofounded by artists Hernan Bas and Naomi Fisher—“We liked how our names together sounded, like a fishing tournament,” Fisher says. BFI programs edgy and experimental work, whether visual, video or performance art. Spend 15 minutes inside the space to see whatever exhibition has taken over the gallery, then allow an afternoon to join a Weird Miami tour, Bas Fisher’s signature series, in which an artist is given free rein to take visitors on a mystery tour through the city, helping them discover the forgotten, hidden or overlooked places and things that define Miami. At 100 NE 11th St.; basfisherinvitational.com.
Founded in 2001, Artists in Residence in Everglades, or AIRIE, is one of the country’s most unusual programs. Fellows, such as New York–based visual artist Dana Levy (see her on-site installation, Emerging from the Swamp, above), spend a month alone in a cabin deep in the Everglades, with air-conditioning, spotty Internet, a bike, a kayak and free rein of the 1.5 million–acre park. So far, 110 fellows—artists but also writers, musicians and even dancers—have been selected to live and work among the alligators and panthers and invasive pythons. The lonely, spartan experience can occasionally be shocking. One artist from Hollywood, Florida, packed up her things after the first day and began to drive away, only to have a change of heart and turn around. “The next day,” says Deborah Mitchell, AIRIE’s executive director, “she had this pivotal experience that made her want to stay.” airie.org.
A two-year scuffle between the Museum of Contemporary Art (MOCA) and the city of North Miami will come to a close in November when part of MOCA will become the Institute of Contemporary Art and move to an interim facility in the Design District. The rest of MOCA will stay in North Miami. It remains to be seen which artworks will go to which institution.
This is the sumptuous Coconut Grove villa of industrialist James Deering, a Golden Age Elton John with a magpie’s instinct for collecting.
For the first 20 minutes, visitors should wander the Hearst Castle–like interiors, a mash-up of European antiques and fixtures. Then, in the next 25 minutes, dawdle in the gardens, now often host to contemporary art exhibitions. Don’t miss the mermaid-adorned waterfront barge that sits in front, designed by Sterling Calder, father of mobile designer Alexander. “When it was done, Deering complained to Calder that the female figures were too well endowed,” says museum executive director Joel Hoffman, “and requested they be rendered more modest.” At 3251 S. Miami Ave.; vizcaya.org.
Frieze London, the grande dame of all art fairs, returns to the city’s Regents Park to showcase another annual installment dedicated to contemporary and living artists (friezelondon.com). From October 15 to 18, visitors (over 60,000 people are expected) can take in works from 162 participating galleries from around the world. With plenty to see, hear and learn, here’s what you cannot miss.
Brand-new to the fair this year is Live, a section devoted entirely to performance-based installations, including works specifically conceived for Frieze and the restaging of important historical pieces. Works by Robert Breer, Franz Erhard Walther, Tamara Henderson, Adam Linder, Shanzhai Biennial and United Brothers will all be on view.
Head to Lehmann Maupin Gallery’s stall for a curated selection of multimedia works by artists like Lee Bul, Alex Prager, Tracey Emin, Teresita Fernández and others, who all share an interest in the perception of constructed environments—both physical and psychological.
Also of note is the presentation from New York’s Lower East Side gallery Canada, which showcases works by artists such as Michael Williams and Xylor Jane. Keep an eye out for pieces by the late artist David Askevold, once dubbed by fellow artist Mike Kelley as the “difficult conceptualist.” Askevold’s artistic endeavors, such as his Psychedelic Buffalo 3, defy explanation and hark back to trippy days gone by; they should not be skipped.
For art of slightly older provenance (all works on view were made before 2000), check out Frieze Masters (friezemasters.com), just a 15-minute walk away. Pay special attention to the solo artist presentations from the fair's impressive list of 120 galleries from October 15 to 19.
Should you need a break from the throngs, but not from quality art, head to London’s oldest French restaurant, L’Escargot (48 Greek St.; 44-20/7439-7474; lescargotrestaurant.co.uk). Only 14 minutes away by Tube, the old standby has just launched its Upstairs Club, with six kaleidoscopically redecorated rooms full of comfort and calm. Thanks to its collection of works by Salvador Dalí, Matisse, Laura Knight, Peter Blake and Grayson Perry, among others, you’ll still feel part of the artistically inclined fanfare.
In Miami Beach, the contemporary art museum just celebrated its 50th anniversary. Here, in the first 20 minutes, one should explore the eclectic holdings, donated by local collectors Johanna and John Bass, ranging from daubs by Daumier to a huge 16th-century Flemish tapestry.
For the next ten minutes, stroll around the museum’s premises, an artful fusion of a stark, temple-like former library designed in 1930 by Russell Pancoast with a ’90s white-box extension by architect Arata Isozaki. The Japanese minimalist has been recruited for yet another expansion, set to begin in June 2015, which will add about 10,000 square feet of exhibit space to the blueprint. At 2100 Collins Ave.; bassmuseum.org.
Michael Lindsay-Hogg is the epitome of the Renaissance man. He is a painter, writer, director and an unmitigated bon vivant, of sorts. He’s directed videos for The Rolling Stones and The Beatles, as well as the acclaimed television series Brideshead Revisited. (He’s also the purported son of Orson Welles.)
He has dubbed his work as a painter, which he has now turned to full-time, as “career number five,” and his latest creations can be seen in the brand new exhibition “Casanova’s Dream,” on display at The Salon at Automatic Sweat in Los Angeles through October 10.
Lindsay-Hogg’s painting is an amalgamation of folk-art-like expressionism suffused with wit and humor, a la poet Dorothy Parker or filmmaker Preston Sturges. Like all of his work, the artist does not limit himself to mere canvas; he works on cardboard, paper, postcards…anything he feels will enhance his vision.
“I guess painting is what I like doing best now,” mused the artist at his opening last Saturday evening. “Although, in one way, it’s only marks and colors on a surface, for me there’s a link to writing, directing, in movies and theater. There is an ambiguous relationship the people in the paintings have with each other, with the outcome—often in doubt, or left hanging—[and] with each other or with the viewer.”
What is beyond clear, however, is that his artwork deserves to be seen. 2656 S. La Cienega Blvd.; 310-839-3100; automaticsweat.com.
Photo courtesy of Fisk, Lars
Thanks to an expansion of materials, spaces and appreciation, public art is reaching new heights worldwide, and the sky’s the limit—literally. Beginning September 17, New York will be home to one of the latest examples: “Broadway Morey Boogie,” an exhibit from modern-art gallery Marlborough Chelsea (545 W. 25th St.; 212-463-8634; marlboroughchelsea.com) that features public works at various locations between Columbus Circle and 167th Street along the Broadway Malls.
While the exhibit spans 107 blocks and includes the contemporary works of 10 artists (including Dan Colen, Sarah Braman, Matt Johnson and Paul Druecke), the title—a reference to Piet Mondrian’s 1943 painting Broadway Boogie-Woogie—reveals an homage to New York City street life that is intended to be considered cohesively.
Though the pieces are meant to reflect the same vigorous urban energy that Mondrian’s piece carries, curators Max Levai and Pascal Spengemann also intended to cull a collection that would stop fast-footed New York denizens in their tracks—if only momentarily. “Specifically, we were looking for work that was sufficiently accessible to engage a wider public, while encouraging a thought-provoking dialogue in terms of both form and content,” explains Levai.
Levai and Spengemann carefully selected a group of artists, many of whom will be making their public-art debut, with the hopes of attaining a goal that is twofold: to showcase the talents of artists in the public-art sphere, while also creating the space for future exhibits of its kind. (This also isn’t the first time the Broadway Malls have exhibited outdoor artworks.)
“Public art in New York is a complicated beast, and a realm that I feel is dramatically underdeveloped,” says Levai. “Its advantage is its ability to affect more than just those who participate in the museum and gallery world. Therefore, it has the potential to have a dramatic effect on pushing artistic progress forward.” Through February 2015.
Every September, fashion capitals all over the world light up with designers’ latest collections for spring—but the catwalk isn’t the only source for sartorial entertainment. This month, three cities play host to exhibitions that investigate our relationship to style and fashion’s role in history.
“Hollywood Glamour: Fashion and Jewelry from the Silver Screen”: Joan Crawford, Greta Garbo, Mae West—these names are synonymous with the golden age of Hollywood, when satin-clad actresses of the 1930s and ’40s wore exquisite gowns accessorized with equally dramatic jewels. On display at Boston’s Museum of Fine Arts is an indulgent array of creations by the likes of Adrian, Travis Banton and Chanel, just to name a few. Taken from film sets, or from the personal collections of their leading ladies, the curated collection demonstrates how the era’s signature glamour was determined as much by what the stars wore offscreen as what they wore on camera. Through March 8, 2015; 465 Huntington Ave.; 617-267-9300; mfa.org.
“Killer Heels: The Art of the High-Heeled Shoe”: With a history that stretches back nearly four centuries, the high-heel has undergone transformations of form and cultural relevance. From iconic styles by fashion favorites like Manolo Blahnik to architectural creations by Zaha Hadid, the display at The Brooklyn Museum—which includes six specially commissioned short films—proves one thing: A shoe is never merely an accessory. Through February 15, 2015; 200 Eastern Pkwy.; 718-638-5000; brooklynmuseum.org.
Fashion Film Festival Milano: Debuting September 14 during Milan Fashion Week at the Piccolo Teatro Grassi Milano, the inaugural festival draws on the growing popularity of fashion films, from Prêt-à-Porter to The Devil Wears Prada. In addition to showcasing films created in collaboration with the world’s top brands—including Gucci, Louis Vuitton and Cartier—the Festival hosts a competition for new talent, providing a forum for young directors and producers to share their work with designers, brands, artists and the fashion-hungry public. September 14–15; Via Rovello, 2; 39-848-800-304; fffmilano.com.