Three Cor-Ten Steel Pavilions Make Up This Art Collectors’ Rugged Retreat

The article showcases nine unique and artistic vessels that transcend the traditional function of a vase, emphasizing their value as standalone art pieces. It highlights how contemporary designers are pushing boundaries in material use and form, blending age-old craftsmanship with innovative techniques. Each featured vessel demonstrates a distinct approach to design, ranging from intricate glasswork to reinterpreted ceramics and sculpted stone. One example is the "Baba Yaga Kiln-Cast Crystal Vessel" by Carol Milne, which employs a labor-intensive knitted glass technique. This process involves creating a plaster mold, casting glass, and meticulously chipping away the mold to reveal an intricate, unique structure, drawing inspiration from Slavic folklore. Similarly, Jolie Ngo’s "Flatpack in Dazzle Camo Glazed Ceramic Vessel" reimagines ancient ceramics through a modern lens, utilizing 3D printing and a vibrant, undulating ombré pattern. Ngo cites digital landscapes like Minecraft and The Sims as her creative influences, resulting in a vessel that feels both familiar and distinctly contemporary. Heami Lee's "Oval and Round Bud Vases in Silver-Coated Porcelain" demonstrate a transformative process where unglazed porcelain is fired and then coated multiple times in silver to achieve a metallic finish. These pieces are designed to develop a beautiful patina over time, embodying timeless elegance. Rafi Ajl’s "Yellow Slump Slatted Saguaro Glass Vessel" showcases a fresh take on glassware, with cherry wood slats creating a textured, surreal, and slouchy form. Ajl's work aims to challenge conventional perceptions of glass, giving it a unique character. Matthew Fisher's "Elegy Vessel in Calacatta Paonazzo Marble" presents a monumental object sculpted from exquisite Calacatta marble, allowing the stone's inherent shimmering nuances to be fully appreciated at its grand scale. Norman Teague's "Extruded Vessel #23" redefines the use of plastic, transforming this commonly discarded material into a unique vessel. Teague's design, inspired by traditional basket-weaving, encourages a reevaluation of how single-use materials can be repurposed and reimagined. Jeremy Maxwell Wintrebert’s "Spirit Fruit Glass Vessel" exemplifies dramatic glasswork. These pieces are created by blowing glass into a sphere that is then deliberately collapsed, resulting in a distinct “ripped open” aesthetic. This series is a re-edition of Wintrebert's earlier works, now available through Holly Hunt. Another piece from Rafi Ajl's Saguaro collection, the "Burnt Yellow Glass Vessel," embodies its prickly inspiration with ridges, bumps, and an organic, lilting form reminiscent of a gold-encased cactus. Finally, Milne's "Whirlwind Kiln-Cast Crystal Vessel" further explores her glass techniques, specifically "knotted glass," which allows for more fluid and swirling forms compared to her earlier knitted glass pieces. These examples collectively highlight how functional objects can double as striking artistic statements in contemporary home decor. #DesignerVases #HomeDecor #ArtisticVessels #ContemporaryDesign #GlassArt #CeramicArt #MarbleSculpture #SustainableDesign #InteriorAccents

This article offers comprehensive guidance on effectively hanging art, drawing insights from award-winning designers, a museum director, and Christie’s specialists and art handlers. It emphasizes the importance of considering the context in which art will be displayed, noting that factors such as whether the space is domestic, business, or institutional, along with architectural elements like windows, doors, ceiling height, and floor quality, all influence how an artwork is perceived and interacts with its environment. The article advises against hanging art in locations that could lead to damage. Specifically, it cautions against placing artworks above fireplaces or radiators, as heat can melt or damage canvases over time. Similarly, direct sunlight is highlighted as a risk for fragile or unprotected works, with a strong recommendation to avoid hanging drawings or watercolors near windows. To mitigate these risks, smart framing techniques are suggested, including the use of special glazes that block UV light to prevent fading and seals that create artificial environments to protect against humidity and temperature fluctuations. The article references a guide to framing for further expert advice. Establishing the correct height for hanging art is another key aspect. It notes that modern and contemporary works are typically hung at 1.55 meters to the middle of the picture, a standard adopted by museums and Christie’s. Old Masters are often hung slightly higher. However, domestic settings may require adjustments based on furniture and ceiling height, and some artists, like Le Corbusier, provided specific hanging instructions. The importance of using double fixings rather than a single central one is stressed to prevent works from tilting forward or moving easily. The article also delves into the aesthetic considerations of art display. It introduces the concept of “negative space” as a crucial element when arranging multiple artworks, defining it as the space between works that guides the spectator's eye. Designers encourage variety in art arrangements, advocating for the mixing of periods and genres to create dynamic visual dialogues. Examples include pairing 17th-century portraits with contemporary paintings or combining a large painting with smaller groups of photographs. Finding visual or thematic links between artworks is suggested as a method for grouping, even if they span centuries apart, as demonstrated by juxtaposing a Leda and the Swan painting with modern bird sculptures, or a David LaChapelle work with a Dutch Old Master to explore shared themes. Conversely, playing on contrasts is also presented as an effective strategy to allow individual works to stand out as singular forces. Finally, the article provides practical advice for installation, emphasizing the need for technical precision over subjective judgment. It recommends using a tape measure and spirit level to ensure artworks are hung straight, especially for symmetrical arrangements. Structural considerations are also paramount: understanding wall composition is crucial, particularly for heavy pieces, and it's important to be cautious of water pipes and electrical wiring, especially in older homes where their placement might be less predictable. Despite these technicalities, the overarching message is that personal preference should ultimately guide the arrangement, stating that there is no absolute right or wrong way to organize a collection. Experts’ personal approaches reveal diverse methods, from protecting prints in bedrooms to integrating small works into bookshelves, underscoring that a good artwork will look appealing regardless of its placement. #ArtHanging #HomeDecor #InteriorDesign #ArtCollection #FramingArt #ArtDisplay #MuseumStandards #ArtPreservation #ContemporaryArt

This article offers a virtual tour of 14 spectacular homes belonging to renowned artists and architects around the world. These residences, usually open to the public but now virtually accessible, provide a glimpse into the personal spaces and creative environments that shaped these influential figures. The article highlights unique architectural styles, interior designs, and personal touches that reflect each artist's personality and work. The tour begins with Frederic Church's Olana in New York's Hudson Valley, a 19th-century landscape painter's home that blends Victorian and Middle Eastern motifs. Oscar Niemeyer's Casas das Canoas in Rio de Janeiro showcases his signature curves and reinforced concrete, with organically positioned boulders integrated into the design. Frank Lloyd Wright’s Taliesin in rural Wisconsin is described as his architectural autobiography, an 800-acre estate that is now a UNESCO World Heritage site. Philip Johnson’s Glass House in New Canaan, Connecticut, features wraparound windows designed to integrate with the surrounding landscape, a meticulously sculpted environment inspired by a 17th-century painting. Duncan Grant and Vanessa Bell’s Charleston House in Sussex, United Kingdom, embodies bohemian charm with hand-painted cupboard doors, patchwork chintz curtains, and stenciled paisley walls, complemented by a vibrant garden. Frida Kahlo’s Casa Azul in Mexico City, the site of her birth, death, and many years of her life, is a cobalt-washed residence with chartreuse floors and bright white walls, showcasing local folk art, handmade ceramics, and pre-Columbian sculptures. Auguste Rodin’s La Villa des Brillants in Meudon, France, served as his workshop, business place, and home, filled with dazzling white sculptures. Jackson Pollock and Lee Krasner’s East Hampton home has remained untouched since Krasner’s death, featuring paint-splashed floors in the studio and an eclectic interior with a broken anchor and Krasner’s seashell collection. Georgia O’Keeffe’s home and studio in Abiquiu, New Mexico, radiates natural light and includes surprises like a rattlesnake skeleton, along with an extensive potager garden. Clementine Hunter’s modest cabin at Melrose Plantation in Louisiana showcases her prolific artistry, with thousands of paintings depicting daily life. Frederic Church's Olana, a Persian-inspired fortress, is rich with hues of mustard, cherry, and clay, lavishly draped in Turkish rugs and ornate frames. Jim Thompson’s teak Thai-style home in Bangkok, though not an artist's own work, houses an extraordinary collection of traditional Thai art. Sam Maloof’s 1952 California ranch-style home, relocated to Pomona, features treehouse vibes with redwood walls, a hand-carved spiral staircase, and whimsical stained-glass windows. Irma Stern’s The Firs in Cape Town, South Africa, is a colorful collage of portraits and tribal artifacts, painted in mint green, sunny yellow, and and vivid corals. Finally, Claude Monet’s home in Giverny, France, is famous for its poetic interior with a stream of copper pots in the kitchen and lemony yellow dining room, alongside his collection of Japanese art. #ArtistHomes #ArchitecturalDesign #InteriorDesign #CulturalTourism #VirtualTours #ArtHistory #HistoricHomes #TravelInspiration #GlobalArt

This article explores three distinct architectural projects that creatively utilize corrugated metal as a primary facade material, each demonstrating its versatility and aesthetic potential across different building types and environments. The first project, "True North" in Detroit by EC3, transforms a vacant lot near the city center into a vibrant residential and work district. This community-based development features eight Quonset huts, an innovative and dynamic ensemble that offers adaptable spaces for living and working. The design emphasizes modularity and industrial aesthetics, integrating well within an urban revitalization context. The architects aimed to create a flexible environment that fosters community engagement and injects new life into the urban fabric of Detroit. The project serves as an example of how unconventional structures can be repurposed and designed to meet contemporary urban housing and workspace needs, showcasing the economic and structural advantages of corrugated metal in rapid construction and creative reuse. The second project, "East Street Exchange" in Walworth, London, designed by the architectural practice We Made That, is an extension to a library that stands out with its striking red corrugated iron facade. This extension functions as a 'red lighthouse,' creating new community rooms and acting as a prominent civic landmark. The choice of a bold color and material contributes to its distinct identity and visibility, making it a focal point within the neighborhood. The project illustrates how a simple, cost-effective material like corrugated metal can be used to achieve a strong visual statement and provide functional, inviting spaces for public use. The design focuses on enhancing public services and fostering community interaction, demonstrating an innovative approach to urban infill and public building design. The third project, "Yellow House" by Alejandro Soffia, is located in the dense Chilean forest and addresses the increasing demand for dwelling places through a replicable and efficient construction method. This 100-square-meter private residence is constructed from pre-fabricated Structural Insulated Panel (SIP) elements, covered with a corrugated metal exterior. Soffia views this project as a model for delivering high-quality housing swiftly and affordably in the future. The house is designed to blend with its natural surroundings while providing breathtaking views, proving that pre-fabrication and corrugated metal can result in both aesthetic appeal and environmental responsiveness. The project highlights sustainable building practices and offers a solution for expanding housing availability in challenging environments, using materials that offer durability and ease of assembly. Each of these projects underscores the adaptability of corrugated metal facades, moving beyond their traditional industrial connotations to create visually impactful and functionally diverse architectural solutions in urban and natural settings. #CorrugatedMetal #FacadeDesign #UrbanDevelopment #CommunityArchitecture #PrefabricatedHousing #ArchitecturalInnovation #ResidentialDesign #PublicBuildings #SustainableArchitecture

Ilan Cohen, a finance professional and avid art collector, transformed his Manhattan Chelsea apartment into a museum-worthy space designed by the architecture and interiors studio BoND. Cohen's collecting journey began in 2009, evolving from buying any contemporary work to cultivating a distinct personal taste, influenced by artists like TM Davy. His collection, which includes over 45 pieces on the main salon wall and approximately 100 artworks throughout the apartment, features works by artists such as Nash Glynn, Jonathan Lyndon Chase, Louis Fratino, and Mark McNight. BoND, founded by Noam Dvir and Daniel Rauchwerger, had previously collaborated with Cohen on his modernist beach house in Fire Island. For the Chelsea loft, the challenge was to create a space that not only reflected Cohen's personal history and extensive art collection but also provided room for its continued growth and appreciation. Cohen was already familiar with the building's structure, having lived in another unit there in the early 2000s, and recognized the apartment's potential upon his initial viewing with Dvir and Rauchwerger. The project, which commenced in late 2021, involved reorienting the apartment's simple rectangular main living area to maximize natural light and integrate functional elements without compromising wall space dedicated to art. Inspired by Donald Judd's minimalist aesthetic, the designers implemented built-in furniture pieces and maintained a restrained material and color palette. A key design principle was to keep all furniture 36 inches tall or under, a deliberate choice by Rauchwerger to ensure that the eye level remained completely open, allowing unobstructed views of the artworks. The dining area, for instance, features a custom square dining table fabricated by Bill Zuerlein, complemented by Room & Board chairs, with artworks by Johnathan Lyndon Chase, Salman Toor, and Alex Olson adorning the walls. Cohen himself plays an active role in arranging his collection, often experimenting with multiple layouts before settling on a final display, stating that the fourth or fifth iteration typically sticks. This apartment serves as a testament to living with art, where the design thoughtfully supports and enhances a significant personal collection, transforming a residence into a dynamic gallery space. #ArtCollector #NewYorkLoft #BoNDArchitects #InteriorDesign #ArtCollectionDisplay #DonaldJuddInfluence #ChelseaApartment #ModernLiving #SpaceOptimization

The Mary Heaton Vorse house in Provincetown, a historic home purchased by interior designer Ken Fulk, serves as a unique exhibition space for the Provincetown Arts Society. Rather than a conventional white-box gallery, the house, with its meticulously renovated yet historically preserved interiors, provides a domestic setting for showcasing art. Gene Tartaglia, director of the Provincetown Arts Society, highlights the distinctiveness of exhibiting art within this context, noting that the art “resonates in a way it doesn’t in a gallery.” This approach creates a more intimate and personal connection between the artwork and the viewer, contrasting sharply with the often sterile environment of traditional galleries. The current exhibition, “A Community Affair: PAGA at the Mary Heaton Vorse House,” is the largest to date, featuring 140 works by 40 artists from 14 galleries, all members of the Provincetown Art Gallery Association. This marks the second group show for PAGA at the Vorse house. The interior design, overseen by Fulk, intentionally retains elements of the house's history, such as peeling paint, exposed laths, and worn treads, which are complemented by eclectic furnishings. These historical traces provide a rich backdrop against which contemporary and traditional artworks are displayed, creating a dialogue between the past and present. Tartaglia emphasizes the curatorial process, which involves considering how each artwork interacts with the house's interior. For example, Joel Janowitz’s watercolors of dune pathways are strategically placed next to a window, giving the impression that the pathway leads outside. Rob DuToit’s painting, "The Raft," with its cool tones, harmonizes with the patina of the wall behind it. Joshua Meyer’s "Polyphony," a portrait painted with a palette knife, finds a textural kinship with the exposed wood where it hangs. These thoughtful placements create “vignettes” throughout the house, encouraging close looking and discovery in various nooks and hidden corners. Notable pieces in the exhibition include Jane Paradise’s photograph of a dune shack, displayed in a small bathroom, offering a unique self-reflection moment for the viewer. "Mary’s Room," formerly Vorse’s bedroom, hosts a range of historical and contemporary paintings, including Charles Hawthorne’s full-length female nude, whose demure pose and placement reflect the sensibilities of its era. Another bedroom features Mike Carroll’s abstract painting, "Pareidolia," whose horizontal width corresponds to the bed next to it, inviting contemplation on its title's meaning. Downstairs, Bailey Bob Bailey’s "GLOW" at the east entrance complements and contrasts with the surrounding bookshelves, showcasing its compositional symmetry and stacked forms. The Provincetown Arts Society, under Tartaglia's direction, aims to be a “conduit and collaborator” for existing arts organizations in Provincetown. Beyond exhibitions, it hosts artist residencies, fundraising events, film screenings, dinners, and lectures. Tartaglia curates based on his instinct and personal preferences, believing that if he loves a piece, others might too, leading to sales that support the artists. The unique atmosphere of intimacy and informality at the Vorse house fosters a personal connection between art, artists, and the community, embodying the quirky spirit of Provincetown. The exhibition is open on Fridays from 5-7 p.m. and Saturdays from 11 a.m.-3 p.m. through May 18, and admission is free. #ProvincetownArtsSociety #MaryHeatonVorseHouse #ArtExhibition #KenFulkDesign #ProvincetownArtGalleryAssociation #CuratorialPractices #LocalArtists #HistoricHome #CommunityArts

This article showcases the unique interior design styles of three designers, Jenny Powell, Edward Girardi, and Biff Bartron, as demonstrated in their personal homes. Each designer offers insights into their design philosophy, material choices, and practical tips for creating functional and aesthetically pleasing living spaces. Jenny Powell, owner of Somethings Unique, resides in a spacious Landenberg home with her family. Her design approach emphasizes a blend of elegance and family-friendliness, incorporating a relaxed European style with Scandinavian influences. After moving into their home, the Powells lightened dark wood floors and painted walls in pastel yellow and beige to create a brighter atmosphere. Powell's design is characterized by mixing old and new elements, such as Swedish Rococo-style sidechairs paired with contemporary fabrics, and the use of natural light and preserved greenery. Key elements of her home include fauteuil chairs from Spain with a gray-blue glaze, silk curtains in two colors, and durable microsuede upholstery for family-friendly living. The kitchen features granite countertops and unique hammered metal hardware, while the sunroom offers a casual dining space with a pine farmhouse table. Powell's home is adorned with her father's art, and she advocates for mixing styles, choosing tactile materials, incorporating personal art, and using a soft Scandinavian color palette. Edward Girardi, a proponent of high-rise living, has transformed his 16th-floor condominium in Wilmington into a sophisticated urban sanctuary. His design focuses on maximizing space and functionality in a compact environment. Girardi converted an adjoining unit into an intimate media room, painted in a custom purple-tinged gray. He meticulously blends his own paint colors and uses a sophisticated neutral palette as a backdrop for his home. A large, self-painted contemporary artwork dominates the living room, complementing the angular, masculine aesthetic. He repurposed a cocktail table by replacing its gold top with etched glass and staining the wood mahogany. Girardi's philosophy includes investing in neutral basics and updating accessories with lively prints. He emphasizes grouping family photos for impact and keeping them current. The dining area features a glass and chrome table for spaciousness, and custom built-in cabinets hide a bar and storage. His galley kitchen is designed for efficiency, with ceiling-height cabinets, slate tiles, and cork flooring. In the bedroom, a contemporary pedestal bed is paired with Shaker nightstands, and the space is unified by painting moldings and doors the same color as the walls. Girardi's advice for small spaces includes using larger tiles, decluttering with built-in storage, grouping pictures, measuring furniture carefully, and using solid colors to enlarge a space. Biff Bartron, a partner in BW Design Group, showcases an elegant California ranch home in Wilmington that balances luxury with simplicity, reflecting his preference for peaceful, spa-like environments. Despite initially being in disrepair, Bartron envisioned an open, light-filled space. He renovated in stages, prioritizing the kitchen and bathrooms. The enlarged kitchen features two dishwashers, three microwave ovens, stainless steel sinks, granite counters, and porcelain tile floors that mimic limestone. Sleek cherry cabinets with frosted glass panels and a pass-through window enhance light. A clever design integrates a Sub-Zero refrigerator, with the back half extending into the garage. Bartron unified the public spaces by installing dark ebony-stained hardwood floors. The dining table has an acid-treated copper top, and the living room offers comfortable seating for 11 around a baby grand piano. A chocolate brown daybed and silk curtains frame a bay window, allowing the city lights to become part of the decor. His color palette and simple furniture highlight a dramatic art piece from Paris. The powder room features hand-painted bamboo shoots and polished river rocks in the sink, adding a surprise element. The master bath is a spa-like retreat with a large stone shower and bamboo accents. Guest rooms on the lower level open to a private garden, and a secondary kitchen caters to entertaining. Bartron upgraded lighting and installed a whole-house stereo system. His recent addition of an Asian-inspired front porch creates a tranquil entry. Bartron recommends an Asian-inspired palette, using frosted glass for light and privacy, pampering oneself with luxury baths and linens, keeping window treatments simple to preserve views, and choosing durable materials for pet and family-friendly living. #InteriorDesign #HomeDecor #DesignerHomes #ScandinavianDesign #UrbanLiving #ModernRanch #SpacePlanning #Renovation #HomeStyling

Hines Collective undertook a significant renovation of a 2,000-square-foot, two-bedroom apartment located in César Pelli’s 52-story Museum Tower condo on West 53rd Street, New York. This apartment, developed in 1982 as part of the Museum of Modern Art complex redesign, had remained untouched since its original construction, necessitating extensive work beyond simple restoration. The clients, who were described as minimalists with a substantial collection of vintage and contemporary art and design, desired a space that blended 1960s mod inspiration with a gallery-meets-space-station aesthetic. To achieve this vision, the Hines Collective team initiated the project by stripping the apartment down to its studs and slabs, effectively starting from a blank canvas. This comprehensive gut renovation allowed for a complete reimagining of the living space. A key aspect of the redesign involved creative modifications to the floor plan to achieve a balance between form and function. The second bedroom was repurposed into an expansive walk-in closet and dressing area, providing ample storage. Additional closets were integrated along the hallway leading to the primary bedroom, all concealed behind hidden flush doors, maintaining the apartment's minimalist aesthetic. Throughout the apartment, Toka Builders installed a seamless, gloss white epoxy resin floor in a single pour, contributing to the desired sleek and modern look. The installation phase was executed with the precision of a gallery exhibition, emphasizing the display of the clients' art and design collection. In the living area, a custom sectional sofa, spanning approximately 28 winding feet, was designed to create diverse seating opportunities. This sectional not only facilitated conversation and intimacy but also framed views of Fifth Avenue and incorporated a home office space along its back. The office area was furnished with a Skeleton desk chair by De Sede and an AYALA desk lamp, alongside a curved desk and floating corner console. The kitchen, though primarily white with custom cabinetry and Miele white glass appliances, incorporated warming elements through Akdo tiles and a banquette upholstered in Dedar’s Flimflam fabric. The apartment’s design ensures that remarkable objects from the clients' collection are prominently displayed. For example, an untitled Jin Soo Kim sculpture oversees the dining area, which features chairs hand-carved from over 25 hardwoods, complementing Yard Sale Project’s wood Corsican chairs and vintage Eero Saarinen Tulip chairs, upholstered in Vernon Panton fabric by Maharam, surrounding a Mattia Bonetti Vortex table. The primary bedroom features a floating platform bed by Mondo Collection, with a vintage Eero Aarnio Ball chair opposite. The custom headboard is upholstered in Maharam fabric and includes a hidden light source, while a Martinelli Luce Cobra 629 table lamp on a custom night table provides additional illumination. The hallway entrance is delineated by a vintage Eero Saarinen Tulip stool with a white leather seat and a Dino chair by Daniel Arsham, with vintage Giotto Stoppino wall sconces. The walk-in closet is equipped with a custom vanity area, including Katie Stout’s “Bonnet Chair 1” and a table lamp by Carmen D’Apollonio. The primary bathroom boasts a custom vanity with a Nano White “Glassos” countertop, Kohler sinks, and Hansgrohe faucets. #ApartmentDesign #ResidentialDesign #HinesCollective #MidCenturyModern #ArtCollection #LuxuryInteriors #NewYorkApartment #MinimalistDesign #CustomFurniture

The Cloisters museum and gardens feature architectural elements by Samuel Yellin, a significant figure in the American Arts and Crafts movement. Yellin's metalwork, ranging from intimate to monumental scales, is integrated into various spaces within The Cloisters, often forming the entry points for visitors. Born in Russia in 1884, Yellin immigrated to Philadelphia in 1900, where he apprenticed as a blacksmith, studied at the Pennsylvania Museum and School of Industrial Art, and later taught "wrought-iron work." He established his first shop in 1909 and, by 1915, moved into a purpose-built studio. At its peak in 1928, his firm, "Samuel Yellin Metalworker," employed 268 men and executed over twelve hundred commissions in the 1930s. The company, now known as the Samuel Yellin Metalworkers Co., continues to operate under the stewardship of his granddaughter, Clare Yellin. Yellin's dedication to his craft is evident in his philosophy, notably his assertion that "There is only one way to make good decorative metalwork and that is with the hammer at the anvil." This principle guided his studio, where even draftsmen were trained in basic blacksmithing to ensure a fundamental understanding of metalworking processes. He emphasized working from traditional designs, believing past masters captured the "poetry and rhythm of iron." His extensive collection of antique ironwork served as a crucial resource for his staff, with some pieces later acquired by The Cloisters in 1955. Yellin's own creations are also part of The Metropolitan Museum of Art's collection. The collaboration between Yellin and The Cloisters likely began in 1935, with initial contact made by Yellin himself, alongside a letter of introduction praising his work sent to John D. Rockefeller, Jr. Archival documents confirm a 1937 contract for ornamental railings, grilles, gates, and structural iron door frames, including decorative pins for the Portcullis Gates and a whimsical bell frame on the building's southwest corner. An additional order followed the building's opening, providing stair rails for the Gothic portal and the Postern Gate stairs. Yellin's metalwork at The Cloisters functions both as independent art and as harmonizing architectural elements. He believed ironwork should not act as a barrier but rather create a visual connection between people and buildings, and the surrounding environment. Examples include unique grille designs for the east facade windows, featuring simple, geometric patterns with technically challenging pierced intersections. All lower-level exterior and interior courtyard windows are equipped with grilles of various patterns. Standard railing designs, used both indoors and outdoors, feature square iron balusters rotated by forty-five degrees, flat handrails often pierced by balusters, and volute terminations. Balusters on staircases and rampart railings are further distinguished by a square horizontal rail at midpoint. The railings are designed to be both tactile and visually engaging, showcasing the manipulation of iron through turning, twisting, and pulling. Yellin strategically incorporated tenons as integral design elements, making joinery explicit and adding texture and dimension. He maintained that his work was "honestly and simply done," reflecting the material's nature in its handling and finish. Despite the perceived lack of intrinsic value and coarse appearance of iron, Yellin saw its potential, stating, "I love iron: it is the stuff of which the frame of the earth is made and you can make it say anything you will." The visual evidence of handcrafting imbues his ironwork with significant character and appeal, particularly fitting within the stone context of The Cloisters. #SamuelYellin #Metalwork #TheCloisters #ArtsAndCraftsMovement #ArchitecturalDesign #WroughtIron #Blacksmithing #HistoricPreservation #MuseumArchitecture

The Metropolitan Museum of Art's Fifth Avenue location houses nine distinct water features, offering visitors diverse aesthetic and historical experiences beyond the well-known Temple of Dendur reflecting pool. These installations range from tranquil and contemplative to dynamic, each contributing to the museum's atmosphere and connecting with its vast collections. Beginning with the iconic Temple of Dendur reflecting pool in The Sackler Wing, the article highlights its historical significance. This pool, evocative of the Nile River, complements the ancient Egyptian temple, which was gifted to the museum by President Lyndon B. Johnson. The museum is currently celebrating the 50th anniversary of this significant acquisition. Moving to the Asian Art galleries, the Astor Court features a Chinese courtyard inspired by a 17th-century Suzhou garden. Completed in 1981 by twenty-six Chinese craftsmen using traditional methods, the courtyard includes an inhabited koi pond, a serene element within the bustling museum environment. In the Japanese galleries, Isamu Noguchi's 'Water Stone' presents a subtle water feature. Created for the galleries' opening in 1987, the sculpture circulates water so gently that its surface remains almost perfectly still, creating a quiet and meditative experience. The Charles Engelhard Court in The American Wing showcases two early 20th-century fountains. One features sculptures by Janet Scudder, designed in 1906, while the other is an ornate fountain by Louis Comfort Tiffany, inspired by Byzantine mosaics. These fountains are central to the court's role as a concourse for monumental American sculpture. Within the Robert Lehman Court, which displays 700 years of Western European art, a peaceful fountain surrounded by benches offers a quiet respite. This water feature provides a moment of calm amid the extensive collection. In the Greek and Roman Art galleries, reopened in 2007, a black marble fountain in the Roman Sculpture Court complements the classical sculptures. This installation revives a historical tradition, as the gallery once housed a restaurant in the 1950s with a central pool designed to evoke a Roman villa. The Patti Cadby Birch Court in the Department of Islamic Art features a fountain designed to evoke late medieval Morocco. Constructed in 2011, the court utilized 15th-century methods, with glazed tiles surrounding a bowl-shaped fountain, reflecting traditional Islamic artistry. Finally, the Damascus Room, an 18th-century Ottoman reception chamber, includes an 'ataba' fountain. This central fountain highlights the historical importance of water features in Damascus homes, which were often fed by ancient underground channels. An editor's note clarifies that a ninth water feature was added to the article on August 1, 2017. #MetropolitanMuseumOfArt #WaterFeatures #TempleOfDendur #AstorCourt #IsamuNoguchi #LouisComfortTiffany #JanetScudder #RobertLehmanCollection #IslamicArt

Rachel Schlather, the blogger behind CLEfashionista, transformed her new Strongsville home with a Cleveland-themed gallery wall, making it a central decorating priority upon moving in last year. Her approach involved a curated collection of prints, posters, and art sourced from local shops, reflecting a style she describes as “midcentury modern with a touch of Cleveland.” Schlather aimed for a cool, un-kitschy vibe by taking her time with the selection process, acquiring pieces over several months. This allowed for a blend of budget-friendly items and more expensive art, ensuring a balanced aesthetic. Color coordination was a significant factor, leading her to even paint some frames to perfectly match the overall scheme. The meticulous planning involved laying out the gallery wall on the floor numerous times before finalizing its arrangement. The gallery wall is prominently displayed in the joint dining and living room of her 1960s ranch-style home, creating an immediate and lasting impression on visitors and serving as a conversation starter. One of Schlather's most cherished pieces is a print of the Leonard Schlather Brewing Co. This find holds personal significance as her husband is a distant relative to one of the brewery’s namesakes. Operating from 1857 to 1902, the company's storage facilities were historically located in the building that now houses the Great Lakes Brewing Co., a detail often mentioned during brewery tours. Further enhancing the local theme are two framed maps from Lakewood’s Cuyahoga Collective, positioned above the dining table. These maps feature Strongsville, her current hometown, and Marblehead, the location of her family’s lake house, a frequent summer retreat. These pieces serve as year-round reminders of cherished family memories and important geographical connections. A framed copy of The Plain Dealer front page commemorating the 2016 NBA Championship is another key element, included at her husband's insistence. This newspaper article celebrates a significant moment in Cleveland sports history, adding a dynamic and commemorative aspect to the collection. Beneath the gallery wall, a cozy sitting area is bathed in natural light. This space features midcentury-style chairs in a warm hue paired with a gray couch, designed for both admiring the art and relaxation. Schlather emphasizes the functional and inviting nature of this area, noting that the furniture and decor are not overly formal, making it practical for a household with two children. This sitting area is regularly used for enjoying coffee or working, underscoring the blend of aesthetics and utility in her home's design. #ClevelandThemedDecor #GalleryWall #HomeStyle #MidcenturyModern #LocalArt #StrongsvilleHome #HomeDecor #CLEfashionista

The 21c Museum Hotel in Kansas City, which opened in 2018, merges the concepts of a hotel and a contemporary art museum, creating a unique experience for its visitors. Upon entering, guests are greeted by a corridor illuminated with red and blue LEDs, a permanent art installation by Luftwerk, leading into a lobby that blends century-old tile work with 21st-century artworks. This unconventional entrance immediately signals that the establishment offers more than a typical hotel stay, appealing to both hotel and museum guests. Open 24 hours a day, 365 days a year, and free to the public, 21c breaks away from traditional museum hours, allowing for spontaneous visits at any time. The hotel is part of a larger chain, or "multi-venue museum," founded by art collectors Steve Wilson and Laura Lee Brown. They established the first 21c in Louisville in 2006, focusing on art from the 21st century. The concept expanded to combine a museum, hotel, and restaurant to support local tourism. Kansas City's location is one of eight, with more in development, primarily in mid-sized cities investing in their downtown areas. A consistent artistic element across all 21c locations is the presence of life-size, sky-blue penguins made from recycled plastic by the artist collective Cracking Art. These penguins, intended to raise environmental awareness, have evolved into a playful mascot for the brand. Guests are encouraged to interact with them, taking them to their dining tables or rooms, and they are even available for purchase, costing $5,000 each. The Kansas City 21c Museum Hotel is housed in the historic Savoy Hotel and Grill, which originally opened in 1888 and was the longest continuously operating hotel west of the Mississippi until its closure in 2016. Extensive remodeling was undertaken before its 2018 reopening, with care taken to preserve historical features such as the lobby's colorful tile and an art glass dome. Reupholstered chairs from the original barbershop and sealed-off wooden doors in the guest room halls maintain the building's historical footprint, juxtaposing its past with its contemporary art collection. A notable art installation is the chandelier titled "Crystal Palace: The Great Exhibition of the Works of Industry of all Nuclear Nations (U.S.A.)," created by Ken and Julia Yonetani. Hanging from the historic art glass dome, this piece is made of uranium glass and represents the United States' nuclear power capacity, being the largest in a series of 31 chandeliers, each symbolizing a nuclear nation. The soft blue glow of the uranium glass adds to its visual impact. Many guests book accommodations unaware of the museum aspect, finding themselves pleasantly surprised by the immersive art environment. The hotel also features an "Elevate" exhibition series in elevator lobbies on guest floors, showcasing local artists. Jillian Youngbird's works, spanning various mediums, have been exclusively featured in this series for the past year. The main exhibition, "Off-Spring: New Generations," is dispersed across six galleries and hallways on the first and second floors, featuring approximately one hundred works in diverse mediums, all curated from Wilson and Brown's extensive private collection. This rotating exhibition stays for 10-12 months at each location, with new works continually acquired, mostly supporting living artists. The article also touches on the underlying themes of art accessibility and the privatization of cultural spaces. While 21c aims to make art accessible by integrating it into a hotel setting, the experience of entering a boutique hotel can still feel exclusive compared to public institutions like a library or a traditional museum. Despite this, the hotel offers powerful artistic statements, such as Brad Kahlhamer's "Super Catcher, Vast Array" dreamcatchers displayed in the historic Savoy Grill, which address and heal the negative historical connotations of the original murals depicting westward expansion. #HotelDesign #ArtMuseum #ContemporaryArt #KansasCity #HistoricPreservation #PublicArt #HotelExperience #ArtInstallation #CulturalSpaces

The Frick Collection, housed in a 1914 limestone mansion in New York City, has undergone its most extensive upgrade in nearly 90 years, allowing visitors for the first time to explore the private second-floor suites of the Frick family. Previously, the museum primarily showcased its collection in the grand first-floor rooms, but now the more intimate, domestic-scale spaces—comprising about 10 rooms and several passageways that once served as bedrooms and sitting rooms for Henry Clay Frick, his wife Adelaide, and daughter Helen—have been converted into galleries. This transformation offers a unique perspective on the collection within a historically preserved domestic setting. Selldorf Architects completed this comprehensive renovation, which opened in April, revealing the grand architectural style and personal living spaces of the early 20th-century industrialist family. A notable artistic feature on the second floor is an enchanting ceiling mural along the corridor, contrasting with the formal interiors. This hand-painted work by John Alden Twachtman depicts cerulean skies and landscapes filled with monkeys dressed in Chinese costumes, engaging in human activities. This playful design is a nod to French Rococo traditions of singeries and chinoiseries, with a particularly charming detail being a monkey lighting candles for a floating lantern near the entrance to Adelaide’s bedroom suite. The mural's commission highlights the pioneering work of Elsie de Wolfe, considered America's first interior decorator. De Wolfe, at the beginning of her career, boldly pitched her services to Mr. Frick in 1914, emphasizing her expertise in detail and understanding of women's spaces, which she argued male decorators often overlooked. Her persistence led to her being hired, and she subsequently created the iconic Boucher Boudoir. This room, a vibrant display of 18th-century French exuberance, features eight cherub-laden panels painted by François Boucher, depicting the arts and sciences. After previously being displayed on the museum’s main floor, the Boucher Room has been meticulously restored to its original location adjacent to Mrs. Frick’s bedroom. This boudoir, serving as Mrs. Frick's private sitting room, is celebrated for its complete ensemble, including its corner location with windows offering views of Central Park and 70th Street. Another significant area now accessible is the beloved breakfast room, where the family shared their first meal of the day. This room, facing east, captures the morning light, creating a warm ambiance, and showcases the domestic routine of the Frick family, where meals were brought up from the lower-level kitchen by a waiter. To commemorate these enhancements, the museum is hosting the exhibition "Vermeer’s Love Letters" throughout the summer. This exhibition reunites the Frick’s masterpiece, Vermeer’s "Mistress and Maid," with two special loans: "The Love Letter" from Amsterdam’s Rijksmuseum and "Woman Writing a Letter" from the National Gallery of Ireland. Displayed together in a single gallery for the first time, these three works offer a fitting tribute to the newly refurbished Gilded-Age museum. #FrickCollection #NewYorkCity #MuseumRenovation #ElsieDeWolfe #InteriorDesign #GildedAge #VermeerExhibition #ArchitecturalHistory #ArtCollection

This article provides ten key tips from David Pollack, an Old Master Specialist at Sotheby's New York, on effectively hanging artworks to enhance a living space. The primary advice emphasizes that personal preference dictates the 'correct' way to hang art, as individuals should arrange pieces in a manner that brings them joy. However, Pollack also offers professional insights to optimize the visual impact of artworks within a home. The article differentiates hanging strategies based on the artwork's scale and detail. Intricately detailed and minutely painted pictures, such as smaller works or sketches, are best placed where they can be viewed up close, like on a side wall, desk, or bookshelf. Conversely, large, painterly pieces require more expansive settings, such as above a sofa, mantelpiece, or on a larger wall, to allow their full visual impact to be appreciated. Regarding placement within a home, Pollack suggests hanging cherished artworks in high-traffic areas, including sitting rooms, dens, and bedrooms. These locations ensure both residents and guests have frequent opportunities to view and enjoy the pieces. The article also addresses distinctions in displaying contemporary art versus Old Masters. Contemporary works, often larger, are typically hung as individual statement pieces with ample surrounding space, while Old Masters were traditionally displayed 'Salon Style,' covering entire walls. While this traditional method can be visually rich, Pollack cautions that it is best suited for spaces with high ceilings and large walls, and he expresses a fondness for the intentionally asymmetrical 'gallery hang' of smaller works. Conservation is highlighted as a crucial aspect of responsible art display. The article advises particular care for pieces on wood panels, which are susceptible to warping due to humidity fluctuations, recommending consistent climate control. Proper framing is also presented as a means to create a protective microclimate for delicate works. The integration of different styles and periods is strongly encouraged, with Pollack advocating for blending old and new art as the most effective way to collect and decorate. He notes that such an approach allows for unique connections between seemingly unrelated works, creating interesting and personalized home environments. Regarding framing, Pollack, as an Old Master specialist, offers guidance on traditional frames. He suggests that certain 'old fashioned' frames, like simple, jet-black 17th-century Dutch frames, can appear surprisingly modern and complement various paintings. Traditional gilt frames can also work in contemporary homes, though elaborately carved 18th-century French frames are described as grand statement pieces requiring deliberate placement. The article also touches upon the role of interior designers, acknowledging their value for larger projects while asserting that personal taste should ultimately drive display decisions. Finally, the importance of conservation is reiterated, particularly concerning light exposure, which can damage works on paper or other non-oil-based mediums, though oil paintings are generally more resilient to direct sunlight. The overarching golden rule presented is that 'quality looks good next to quality,' implying that a well-chosen object can hold its own in any domestic setting. #ArtworkDisplay #HomeDecor #InteriorDesign #ArtCollection #OldMasters #ContemporaryArt #ArtConservation #FramingArt #SothebysTips

Successfully hanging an art collection requires meticulous planning and careful consideration, encompassing everything from selecting appropriate fixtures and frames to creating a cohesive visual narrative among grouped artworks. Experts in art installation, interior design, and gallery direction offer comprehensive advice on optimizing the display of art in domestic settings. The initial step involves a thorough assessment of the chosen space, considering the artwork's size, potential physical obstacles, and the overall visual flow of the room. Guy Morey, operations director at Momart, an art installation service, emphasizes the importance of measuring both the walls and the narrowest points of entry into the building to avoid issues with oversized pieces or artworks that might be too imposing for a home environment. Planning the arrangement beforehand is crucial; collectors can collaborate with installers to experiment with different placements by leaning artworks against walls to determine the most aesthetically pleasing configuration. Some installers leverage 3D modeling software for precise planning. General guidelines exist for hanging height, with a consistent center-line often recommended across all artworks in a room. This center-line is typically set at eye-level or 120 centimeters from the ceiling to the artwork's center, though it may vary depending on the piece's size. Smaller works can be grouped around a shared center-line, while larger pieces might require individual placement. Lighting is another critical factor, influencing both the aesthetic appeal and preservation of an artwork. Interior designer Verity Woolf, director of Woolf Interiors, advises considering natural light exposure to prevent damage and suggests incorporating artificial lighting solutions, such as concealed ceiling lights that can be adjusted to suit different artwork sizes. Frame selection also plays a significant role in an artwork's presentation and narrative. Woolf highlights framing as an art form in itself, noting that an unsuitable frame can diminish a piece's impact, while a well-chosen one can enhance its meaning. Technical details, such as fixings, are equally important. John Paul Black, managing director of Art Works Exhibition Services, recommends implementing a versatile hanging system, such as aluminum rails hidden in cornices with wires, to facilitate easy rearrangement and temporary storage of artworks, especially to protect them from sunlight at certain times of the year. Unlike gallery settings, private homes present unique challenges with limited space and numerous obstacles like furniture, radiators, and fireplaces. These elements can affect the optimal placement and center-line of an artwork. Ben Cotton, director of Hang-Up Gallery, stresses the importance of harmonizing artworks with existing furniture. He advises against rigidly adhering to gallery-style hanging heights in a home, encouraging collectors to adapt to their space to maintain balance. Furthermore, creating a visual connection between artworks within a collection is essential for a cohesive display. This can be achieved through shared color palettes, themes, genres, or even by featuring the same artist, ultimately forming a compelling narrative for the viewer. #ArtCollection #ArtInstallation #InteriorDesign #HomeDecor #ArtDisplay #FramingArt #LightingArt #ArtPlacement #ArtHangingSystems

This article explores the immersive and unconventional art installations of New York-born, Los Angeles-based artist Tita Cicognani, focusing on her use of hot tubs as central elements in her multimedia works. The artist’s practice, which largely involves sculpture and assemblage, took a unique turn with the integration of hot tubs, driven by a desire for physical interaction and shared experiences, particularly during the COVID-19 pandemic lockdown. Her works contrast with the trend of “dematerializing practice” in the art world, instead embracing the tactile and communal. The piece begins by describing Cicognani’s current installation, "Heart Tub" (2022), at the Hammer Museum, where visitors can reserve 45-minute slots to soak in a heart-shaped, red crocodile-skin vinyl hot tub. This installation is designed to evoke a sense of "tackiness" and "religious frenzy," adorned with embedded video screens displaying floating holograms of flying saucers and bubbly hearts. The artist explains that this first tub was created during the initial COVID-19 lockdown, stemming from feelings of isolation and a craving for physical connection. The article then details Cicognani's earlier hot tub installations. "Mothership" (2021) was an inflatable pool designed as a "tiny wet fun house," featuring mirrors, LED lights, and a disco ball, reminiscent of a Gravitron ride. This work explored the convergence of religious and corporeal ecstasy. Another significant piece, "Prayer Cards" (2019), involved devotional cards featuring the artist's image in poses suggesting stigmata or submission, printed with the prayer of St. Francis of Assisi, challenging conventional notions of piety with pop culture aesthetics. Her second tub installation, "Grotto Tub" (2022), presented a more visceral experience. Located in an artist-run space in Chinatown, it encouraged a more uninhibited, almost chaotic interaction, with PVC pipes emitting a brown goo and accompanying videos of mud wrestling. This installation, playfully dubbed “art student soup” by a Hammer Museum curator, highlighted a deliberate embrace of the earthy and raw aspects of human interaction. The transition to the Hammer Museum for "Heart Tub" introduced new logistical challenges, including safety protocols, scheduled time slots, and ADA compliance, leading to elements like a chrome heart-shaped handrail. The article also delves into the video component of "Heart Tub," titled "I Still Believe" (2022). This 40-minute looping video, viewed from within the tub, features a green-skinned CGI avatar of the artist navigating a cheap motel with a heart-shaped tub, encountering UFOs, and immaculately conceiving an alien progeny. The narrative explores themes of desire, beauty, and love, drawing heavily from pop music and shiny aesthetics, elements Cicognani previously resisted but has now embraced. The work also has intellectual underpinnings, drawing parallels to other water-based art installations like Hélio Oiticica and Neville D’Almeida’s “CC4 Nocagions” (1973). Finally, the artist discusses the socio-economic implications of embracing "tacky" aesthetics and the interplay between high art theory and pop culture references, such as the film "Hot Tub Time Machine." The experience concludes with the writer reflecting on the custom-made pea-green towels, embroidered with an alien baby and the words "I still believe," which serve as a tangible takeaway from the immersive art experience. This installation, and Cicognani's broader body of work, actively seeks to engage the body and challenge traditional art consumption by bringing viewers directly into the art. #ArtInstallation #MultimediaArt #ContemporaryArt #HammerMuseum #ImmersiveExperience #Sculpture #PopCulture #ConceptualArt