William Morris: new exhibition highlights Islamic art influences

The article explores the profound and long-standing influence of Islamic art and design on Western artistic creation, particularly highlighting its role in shaping modernity. It begins by discussing the exhibition "Cartier and Islamic Art: In Search of Modernity," currently at the Dallas Museum of Art, which showcases how Islamic geometric designs inspired Cartier's groundbreaking modern aesthetic in fine jewellery at the turn of the 20th century. This exhibition underscores a relationship between European and Islamic art that has been historically complex, marked by both fascination and political dynamics. In the 19th century, with the advent of the colonial era, increased Western influence in the Middle East opened up travel opportunities for European and North American artists. These artists traveled to cities like Constantinople, Jerusalem, Cairo, and Marrakech, creating paintings that, despite their often clichéd and Orientalist depictions of people and cultures, accurately rendered the beauty of Islamic craftsmanship. These works offered Western audiences their initial exposure to Islamic art, including stylized floral tiles, geometric architectural features, ornate metalwork, jewellery, and textiles. Experts note that these artistic portrayals preceded serious academic scholarship, driving a market for Islamic artefacts among collectors. While collectors sought originals, designers found inspiration in Islamic motifs. Ottoman ceramics influenced European manufacturers, and Alhambra vases inspired imitations. Books from the period, such as Christopher Dresser's "Studies in Design," even provided guidance on incorporating Islamic elements into home decor. However, this growing Western appreciation coincided with a decline in the practice of these crafts in their native countries due to Western colonization and cultural infiltration, leading to a period of artistic stagnation and Western aesthetics overpowering indigenous traditions. Early Western exhibitions of Islamic art, such as the 1893 display by the Union Centrale des Arts Décoratifs, faced criticism for their Orientalist scenography and genre mixing. It was not until Gaston Migeon's 1903 "Exposition des arts Musulmans" that a more scientifically organized and critically acclaimed display emerged, generating significant enthusiasm and opening Western eyes to the true depth of Islamic art. Louis Cartier, though not confirmed to have visited the exhibition, certainly had access to its catalogue, and it is believed to have been a pivotal source of inspiration for him. At a time when European jewellers were recycling historical styles, Cartier sought a new aesthetic, rejecting the prevalent Art Nouveau. The 1903 exhibition provided him with a new visual vocabulary rooted in the geometry and distilled motifs of Islamic art. He began integrating these elements into his designs as early as 1903, sometimes in minimalist pieces and other times blending them with existing garland styles. A subsequent groundbreaking exhibition in Munich in 1910 further spurred Cartier's interest, leading him to build his own collection of 16th and 17th-century Iranian and Indian manuscripts, paintings, and inlaid objects. From then on, Islamic architecture, manuscripts, and textiles became a consistent source of inspiration for Cartier, influencing motifs like crenelated parapets, brick patterns, almond-shaped mandorlas, finials, and scrolls. The colours and materials of the Iranian world, such as lapis lazuli, sapphire, jade, and emerald, became prominent in his designs, often mimicking the glazed ceramic brickwork of Central Asia. The article highlights a 1922 bandeau by Cartier featuring coral, onyx, and diamonds, which exemplifies the integration of miniature architecture and curvilinear forms. Beyond Cartier, the influence of Islamic design permeated various artistic fields. Henri Matisse's visit to the Alhambra after the 1910 Munich exhibition led to more intense colours and flatter patterns in his work, with his paper cut-outs showing unmistakable similarities to tessellated tile work. MC Escher was also deeply inspired by the Alhambra's symmetry and mathematical ingenuity. In performing arts, Leon Bakst's Oriental costumes for the Ballets Russes influenced couturiers like Paul Poiret, who created lifestyle experiences incorporating Islamic-inspired fashion, furniture, and textiles. Carlo Bugatti, an innovative furniture designer, similarly integrated Islamic effects like muqarnas and horseshoe arches into his creations. Although Islamic design fell out of favour in the West by the mid-20th century, recent exhibitions, such as "Islamophiles: L'Europe moderne et les arts d'Islam" (2011) and "Inspired by the East: How the Islamic World Influenced Western Art" (2019), have revived interest. The ongoing Cartier exhibition aims to serve as a catalyst, reintroducing these historical objects to new audiences and potentially inspiring a new generation of artists and designers, reflecting a continuous trajectory of influence and reinterpretation. #IslamicArt #CartierJewellery #ModernAesthetics #ArtHistory #CulturalExchange #DesignInfluence #Orientalism #Exhibition

Marina Baisel, the founder of Rarares, a contemporary art space in DIFC, is approaching the art gallery model with a unique perspective, informed by her previous career in interior design. While Dubai's art scene typically features either large commercial galleries showcasing international artists or smaller ones dedicated to local talent, Rarares aims to bridge this gap by bringing both emerging and established global artists whose works are rarely exhibited in the UAE. The gallery's name, derived from the Latin word 'rarus' meaning rare, reflects this curatorial philosophy. Baisel's background in interior design provides a distinct advantage in the art world. Having spent nearly a decade incorporating artistic elements into interior projects, she understands the synergy between art and living spaces. She views interior design as a canvas where art plays a crucial role in enhancing the overall experience, capable of transforming spaces, evoking emotions, and narrating stories. This passion for the artistic component of interior design motivated her transition to becoming a gallery owner, seeing it as a natural progression to combine her love for aesthetics with a desire to support and promote artists. Her interior design expertise significantly influenced the gallery's physical design and exhibition curation. Baisel believes a gallery should be an immersive environment that enhances the viewer's experience, not just a display space. Consequently, the layout, lighting, and overall aesthetic of Rarares are meticulously planned to highlight each artwork, creating a cohesive narrative throughout the space. This careful curation extends to individual exhibitions, where Baisel leverages her design knowledge to consider how artworks interact with each other and their surroundings. Each exhibition is thoughtfully organized to guide visitors through the space, fostering meaningful engagement with the art. Aspects such as lighting, forms, and palettes are considered to establish a harmonious balance between the artworks and the gallery setting. Currently, Rarares is featuring 'Eidos,' a solo exhibition by multidisciplinary artist Mederic Turay, which marks his debut collection of ceramic works and his first show in the UAE. Following this, in April, the gallery will host 'Powerful Spring,' a group female exhibition that explores the philosophical concept of soft power and acceptance, serving as an ode to feminine strength. The gallery's approach reflects a thoughtful integration of art and design principles, offering a fresh perspective on art display and engagement within the Dubai art scene. #Art #FineArt #Gallery #InteriorDesign #DubaiArtScene #ContemporaryArt #ArtCuration #MarinaBaisel

This article explores the significance of an eighth-century Umayyad wool tapestry fragment from the Metropolitan Museum of Art's collection, reconsidering common impressions of Islamic art. While Islamic art is often perceived through its precise and repetitive ornamental motifs, this tapestry fragment offers a counter-example, revealing a more playful spirit in early Islamic textiles. Dated to the mid-eighth century and attributed to the Umayyad Caliphate, the fragment features stylized rosettes and floral motifs that resemble bright flower sprays on a grassy background. The fragmentary nature of the tapestry, lacking selvedges, suggests it was part of a larger furnishing fabric. Reconstructing Umayyad homes from the seventh or eighth century is challenging due to the scarcity of extant textiles. However, wall paintings and mosaics from Umayyad palaces provide insights into their interior decorations. For instance, a fresco at Qusayr 'Amra depicts a heavily draped space with veiled doorways and colonnades, and covered seating, contrasting with the current austere state of these palaces. Similarly, floor mosaics at Khirbat al-Mafjar, edged with tassels, suggest the presence of carpets of similar size, reinforcing the idea of textile use in these grand spaces. The author posits that the floral tapestry fragment might have served as a wool seat or wall furnishing. A key aspect distinguishing this fragment is the irregular design and varied color application of its motifs, a departure from the strict repetitive or symmetrical layouts prevalent in decorative art from later Islamic dynasties. The central part of the textile, a band with a green background, features two rows of medallion-style rosettes. Each of the seven rosettes is distinct in color or form, with individually rendered petals. The flower bouquets on the red band, forming the edge, also exhibit this intentional variation, ensuring no two neighboring motifs are identical. This deliberate variety in repetition is paralleled in the facade of Qasr al-Mshatta, where carved rosettes within hexagons and hexafoils display distinct content while maintaining a general form. The interspaces are densely covered with grape leaves, alongside depictions of lions, griffins, and peacocks. This suggests that such decorative programs were designed to evoke a garden, mimicking the fabled Paradise garden, through a diverse array of flora and fauna. Therefore, the rosette tapestry fragment, whether used as a hanging or a cover, would have functioned as a segment of a portable garden. Spreading the tapestry would have transformed the environment, releasing a miniature Paradise and adding a sense of glamour, as if the owner were seated on a floral lawn or surrounded by fantastic creatures. This interpretation highlights the innovative and artistic intent behind early Islamic textile design, showcasing a sophisticated approach to decoration that went beyond mere repetition to create dynamic and symbolic spaces. #IslamicArt #UmayyadTextiles #TextileHistory #DecorativeArts #MetropolitanMuseum #ArtInterpretation #GardenMotifs #HomeDecor

The Ditchling Museum of Art + Craft in Ditchling, England, is currently hosting an exhibition titled "Double Weave: Bourne and Allen’s Modernist Textiles," which aims to reintroduce the British textile company Bourne and Allen, and its founders Hilary Bourne and Barbara Allen, into the annals of design history. Active in the mid-1900s, Bourne and Allen produced a range of iconic woven fabrics, yet their contributions have largely faded from public memory. This retrospective seeks to correct that oversight by highlighting their innovative craftsmanship and personal story. Hilary Bourne and Barbara Allen were partners in both life and business, and their company was known for blending modernist aesthetics with traditional craft techniques. They frequently utilized natural materials and plant dyes, sourcing wools from across the United Kingdom. Their products, which included woven scarves, tweeds, and furnishing fabrics, were carried by prestigious department stores and design houses such as Liberty of London, Heal’s, and Fortnum and Mason. Bourne and Allen also played a significant role in major theatrical and film productions of their era. Notably, they designed expansive stage curtains and furnishing fabrics for the Royal Festival Hall in London, built for the 1951 Festival of Britain. Their work extended to Hollywood, where they produced 52,000 yards of custom-woven fabric for the costumes of 452 actors and 25,000 extras in the epic film *Ben-Hur*. The exhibition, which is the culmination of extensive archival research conducted by a team of ten, delves into the duo’s work, their lives, and their four-decade-long relationship. Various sections of the show explore their distinct weaving techniques, the materials they employed, their global inspirations, their personal backgrounds, and key career achievements. The displayed fabrics, encompassing both swatches and longer lengths, illustrate Bourne and Allen’s unique aesthetic, characterized by bright primary colors derived from natural dyes like indigo (blue), madder (red), and weld (yellow), contrasted with the natural hues of undyed sheep’s wool. The use of Lurex alongside dark yarns and varied weaving techniques such as plain weave, double weave, chenille, ikat, and floats of thick hand-spun yarns, created alluring textures. The exhibition contextualizes Bourne and Allen within a vibrant, women-centered community of craftspeople in England that predated World War II. A display titled “Map of intimacies: Women’s networks of love, friendship, and textile practice” visually charts the collaborative and intimate relationships among the women—friends, lovers, companions, business partners, and sisters—who influenced Bourne’s and Allen’s lives and work. To demonstrate the enduring relevance of Bourne and Allen's legacy, the exhibition incorporates commissions from two contemporary artists, Poppy Fuller Abbott and Omeima Mudawi-Rowlings. Abbott, a weaver from Sussex, created a piece inspired by the mid-century designers' techniques using indigo-dyed linen with silk floats, and also wove textile samples that replicate Bourne and Allen's fabrics for visitors to handle. A film in a dedicated viewing room documents Abbott’s weaving process. Mudawi-Rowlings's site-specific installation, "Drawn to the Light (نور)," features long swathes of silk dyed with plant materials and printed with personal symbols, reflecting themes of interconnectedness and personal identity amidst global events. Ultimately, "Double Weave" serves as a meditation on themes of love, loss, home, and land. It underscores how the act of weaving, both literally and metaphorically, involves intertwining traditions across time and place, fostering a continuous dialogue through generations in the form of fabric. #TextileHistory #MidCenturyDesign #ModernistTextiles #BritishDesign #Craftsmanship #QueerHistory #DitchlingMuseum #TextileArt #ExhibitionReview

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

The 17th annual Dallas Art Fair, held at the Fashion Industry Gallery, opened its doors for a VIP preview, offering a much-needed respite from the week's financial volatility. The event, which showcases works from 93 galleries across 21 countries, emphasized bold, joyful, and unapologetic color in its exhibits. Local artist and fashion designer Geoffrey Henning, who toured the fair, noted a prevalent "naïve moment" characterized by looser, less rigid strokes and bright, happy hues. This artistic direction was exemplified by Paul Jenkins' "Phenomena Place of the Crucible," where paint was poured directly onto the canvas and tilted to create fluid, glaze-like washes, as explained by Ruben Tanzi of Rochini Gallery. Another artist that garnered attention was James Benjamin Franklin, whose multi-hued works utilized fabric as a base. Layers of resin, sand, and textiles in his pieces created organic landscapes, a technique highlighted by Tara Akitt, senior director at LSC Gallery. Henning found these works to possess interesting depth, providing a unique departure from traditional flat canvases and representing a fusion of fashion and art. The fair also featured Tina Girouard’s "Pink Floral (Lillypad)" at the Anat Ebgi Gallery booth, a piece adorned with sequins and beads on fabric. This particular work was one of seven selected to join the Dallas Museum of Art’s permanent collection through the Dallas Art Fair Foundation Acquisition Program, which has supported a diverse range of artists and galleries since its inception in 2016. Marlon Wobst’s "Desert Moon," a large-scale felted, textured tapestry, was another notable exhibit, offering insights into human experiences and rituals. Its prominent placement in the Galleri Urbane booth, one of the many local exhibitors, was fortuitous due to a suitable window in their space, as noted by owner Ree Willaford. Texas galleries maintained a strong presence at the fair, including Colector, Conduit Gallery, Cris Worley Fine Arts, Erin Cluley Gallery, Nature of Things, Pencil on Paper Gallery, Sputnik Modern, Valley House Gallery, and Fort Worth’s William Campbell Gallery. Despite economic uncertainties, Dallas gallery owner Cris Worley expressed optimism, emphasizing the mission to support artists and their messages. This sentiment was echoed by early sales at the fair, such as hometown artist Celia Eberle’s paper wall sculptures, which quickly sold out within the first two hours of the preview. Similarly, Jessica Vollrath’s portraits at Pencil on Paper fetched prices in the mid-four-figure range. Kelly Cornell, Executive Director of the Dallas Art Fair, reiterated the event's mission to facilitate discovery, foster connections between exhibitors and collectors, and celebrate the caliber of gallery presentations and the enthusiasm of the city’s art lovers. The Dallas Art Fair was scheduled to continue through Sunday, April 13, from 11 a.m. to 5 p.m., with a one-day general admission cost of $36. #DallasArtFair #ArtExhibition #ContemporaryArt #ArtAndDesign #ArtMarket #TextileArt #DallasEvents #GalleryShowcase

The popularity of pile-woven carpets from the Islamic world, often referred to as oriental carpets, in Europe from the fourteenth century onward is extensively documented through their frequent appearance in European paintings. These paintings serve as a crucial historical resource for scholars studying early carpets, so much so that many types of Islamic carpets from the Middle East are now identified by the names of European artists who depicted them, including Lotto, Holbein, Ghirlandaio, Crivelli, and Memling. The historical significance of expensive textiles underfoot, representing wealth, power, and sanctity, dates back to biblical times. This cultural concept is evident in various artworks, such as the Sienese painter Duccio's depiction of garments spread before Christ on Palm Sunday, and later, Sir Walter Raleigh's gesture of placing his cloak for Queen Elizabeth. A fifteenth-century painting by Giovanni di Paolo, titled *Madonna and Child with Two Angels and a Donor*, features one of the earliest and rarest types of Turkish carpets exported to Italy, characterized by highly stylized animal motifs within octagons. By the sixteenth century, carpets became common motifs in portraits, symbolizing sophistication, education, and high social and economic standing. An anonymous portrait by Moretto da Brescia, for instance, includes a border of a contemporary Anatolian rug from Ottoman Turkey at its base. The seventeenth century saw an even broader integration of carpet depictions across Europe. Lotto carpets, identifiable by their distinctive designs, are well-represented in this period. Earlier, larger examples exhibit borders with stylized strapwork reminiscent of Kufic Arabic script, while later versions feature small medallions. Jan Brueghel and Peter Paul Rubens' painting, *The Feast of Acheloüs*, illustrates a beautiful Lotto carpet with red and yellow arabesques from central Turkey draped over a table during a contemporary Flemish outdoor banquet. The pattern's popularity is further demonstrated by Nicolaes Maes' painting of a young girl peeling apples, seated beside a table adorned with a luxurious Lotto carpet. Syrian carpets, particularly rare in Europe, also appear in paintings. Gabriël Metsu's *A Musical Party* showcases a "chessboard" carpet with geometric star designs from early seventeenth-century Syria on a table. Medallion carpets from Ushak in west-central Turkey were another frequently depicted type. Metsu's *The Visit to the Nursery*, a rich Dutch interior scene, prominently displays a large Ushak medallion carpet draped over a table. Gerard ter Borch the Younger's *A Woman Playing the Theorbo-Lute and a Cavalier* features a small west Anatolian medallion carpet with a unique design on the table in front of the musical pair. Johannes Vermeer, despite his limited artistic output, frequently included oriental carpets in his paintings. *A Maid Asleep* shows two distinct seventeenth-century Anatolian carpets, while *Young Woman with a Water Pitcher* presents a soft, thickly textured Persian carpet with floral arabesques on a red ground, again placed on a table. The practice of displaying carpets on tables in upper-class interiors continued into the eighteenth century, as seen in Pietro Longhi's *The Visit*, where a West Anatolian prayer carpet from the Gördes district covers a table in an elegant Italian interior. As carpets became more accessible in Europe, larger examples were imported for floor coverings. Francis Wheatley's *The Saithwaite Family* depicts an aristocratic British couple and their daughter on a vast eighteenth-century Ushak carpet. In early nineteenth-century France, Jean August Dominique Ingres' portrait of Jacques-Louis Leblanc reflects a deliberate nod to earlier portraits. The carpet-covered table, adorned with books, a handwritten letter, and an inkwell, symbolizes a long-standing tradition in European painting that links carpets not only with economic and social status but also with learning and literacy. The small Anatolian carpet on the table in Ingres' work closely resembles an actual eighteenth-century example from the Metropolitan Museum's McMullan collection. Depictions of carpets in European and American paintings persisted throughout the twentieth century, appearing in works by artists like Matisse and William Glackens, affirming the enduring fascination with their colors, textures, and patterns among both patrons and artists. #IslamicCarpets #EuropeanPaintings #ArtHistory #TextileArt #CulturalSignificance #DecorativeArts #OttomanTurkey #Vermeer #InteriorDesign

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

The article announces the release of 26 "new" patterns from Morris & Co., derived from original, unfinished designs by William Morris and John Henry Dearle found in The Huntington's archives. These patterns, which include both fabrics and wall coverings, have been expertly completed and interpreted by the contemporary Morris & Co. design team, and are part of a collection titled "The Unfinished Works." This collaboration offers a unique glimpse into previously unseen creations from the Arts & Crafts movement. Among the newly introduced designs is "Scrolling Tulip," originally conceived as a carpet design. Modern-day Morris & Co. has adapted this pattern for fabric and wallpaper, featuring tulip heads and acanthus leaves, reminiscent of ancient Greek and Roman architecture but with Morris's distinctive modern interpretation. This design is available in Plum, Gold, and Apricot colorways, showcasing its versatility and historical roots. Another pattern, "Hanover Check," is highlighted from "The Unfinished Works Stripes" collection. This intricate geometric design draws inspiration from border details found within The Huntington's extensive collection. Its name references Hanover Square in London, where Morris & Co. showrooms were established in 1917. The Teal/Indigo colorway is specifically mentioned, reflecting a blend of historical context and artistic interpretation. "Wild Tulip & Vine" features prominently as an exuberant scrolling pattern, incorporating stylized daffodils and undulating leaves alongside tulips—a recurring motif in Morris & Co.'s work. The article notes the Nettle/Woad colorway, explaining that woad, a plant with yellow flowers, was historically used to produce blue dye, adding depth to the pattern's natural inspiration. "Cornflower," a design by John Henry Dearle, is praised for its flowing, vine-like characteristics. This pattern includes a subtle dotted background, a signature element of Dearle's work, along with tulips, acanthus leaves, daisies, and cornflowers. An archival note reveals its original intent as a "staircase paper." Currently, "Cornflower" is available in four wallpaper and six fabric colorways, including an embroidered Indigo/Plum version, demonstrating the breadth of its adaptation. The collection also features "Norbury," a floral print whose flowing curves are inspired by the ebb and flow of the River Wandle, a tributary of the Thames, which connects to Norbury Brook. This design, available in fabric and wallpaper, is presented in a Madder colorway, recalling the 18th and 19th-century use of the madder plant for red dye. The introduction of these 26 patterns underscores a significant effort to bring historical design legacies into contemporary relevance while maintaining their original artistic integrity. #WilliamMorris #ArtsAndCrafts #TextileDesign #Wallpaper #FabricPatterns #DesignHistory #ArchivalDesigns #HomeDecor

Morris & Co., the esteemed firm founded by William Morris in 1861, continues its legacy of preserving and reinterpreting the textile luminary's iconic vision through strategic partnerships with like-minded manufacturers. The "Pure Morris" collection takes this commitment a step further, delving into the archives to adapt 19th-century aesthetics for contemporary living. This initiative is driven by a recognition of modern preferences for simplicity and essentialism, prompting Morris & Co. to explore alternative perspectives on their historical designs. The head designer for Morris & Co., Alison Gee, articulated that the current cultural desire for simpler living and a return to fundamental principles made it an opportune moment to present a different interpretation of their heritage. Within the "Pure Morris" collection, a series of eight wallpapers and nine fabrics have been meticulously crafted. Notably, the Pure Sunflower wallpaper is a testament to this blend of tradition and modernity; it was originally hand-printed using the 1879 block, then digitally replicated and enlarged to suit contemporary design demands. The color palette of this historical pattern, once vibrant and multicolored, has been refined and simplified with a neutral scheme comprising silver, stone, and graphite. Similarly, Pure Willow Bough, another distinguished design, has undergone a transformation from its former multicolored rendition to a more subdued, neutral palette, emphasizing a contemporary aesthetic while retaining the original pattern's integrity. Further examples of this archival reinterpretation include Pure Bachelors Button, a wallpaper design that draws inspiration from medieval murals, incorporating motifs that evoke historical artistry in a refreshed context. The fabric collection mirrors this approach, with Pure Strawberry Thief standing out as a notable inclusion. This semi-sheer linen fabric is an adaptation of the well-known Strawberry Thief wall covering, demonstrating how Morris & Co. bridges different material applications while maintaining design continuity. The meticulous process behind each item in the "Pure Morris" collection ensures that the essence of William Morris's original artistry is upheld, while the designs are made relevant and appealing to 21st-century lifestyles and interior design trends. The collection serves as a bridge between historical craftsmanship and modern sensibilities, offering timeless designs that resonate with today's appreciation for simplified elegance. #MorrisAndCo #TextileDesign #Wallpaper #Fabric #AlisonGee #InteriorDesign #HistoricalRevival #PureMorrisCollection #WilliamMorris

In 1967, fiber artist Sheila Hicks collaborated with architect Warren Platner to design two linen-and-silk wall panels for the Ford Foundation headquarters in New York City. Platner was responsible for the interiors of the 12-story modernist landmark, designed by Kevin Roche John Dinkeloo and Associates. Hicks's original wall panels, which featured rosettes threaded around metal discs, suffered significant damage over the years due to an attempted fire retardation treatment in the 1980s, the abrasion from Eames executive chairs in the conference room, and cigarette smoke in the auditorium. Recognizing the historical and artistic importance of these pieces, Ford Foundation President Darren Walker, appointed in 2013, initiated their replacement. He commissioned Hicks to recreate the murals. Hicks accepted the project without an artist's fee, underscoring her commitment to the foundation and her artwork. The re-installation took place in August 2014, with Hicks overseeing the process. This reprisal of her work for the Ford Foundation coincided with a broader resurgence of interest in Hicks's art, marked by other large-scale public commissions, including a yearlong exhibition at the Palais de Tokyo in Paris, and a general renewal of appreciation for weaving as an art form. The modern tapestry was produced in smaller, modular sections by Enrico Martignoni, the chief installer, and project leader Dominique Pastor. This modular approach was adopted to facilitate easier replacement if any section were to be damaged in the future. Crucially, the new silk-blend threads will not undergo the same caustic chemical fire-proofing treatment that damaged the original works. Additionally, the new panels are more cost-effective, utilizing a silk-blend thread and plastic discs in place of the original metal components. The article also touches upon the broader design elements of the Ford Foundation building. Warren Platner, known for his opulent modernist style, integrated bold metallics into his interiors, such as the gold-plated, floor-to-ceiling doors leading to the subterranean auditorium. The landscape designer Dan Kiley, celebrated for his work on projects like the Miller House and the St. Louis Arch, created the lush indoor urban garden within the Ford Foundation. Architects Kevin Roche and John Dinkeloo designed the headquarters with the employee in mind, reversing the traditional skyscraper layout to ensure every office had exterior views or overlooked the indoor park within the ten-story glass atrium. Skylights at the top of the atrium, framed in Cor-Ten steel, allow natural daylight to flood the space. Even the executive chairs, modified by Charles and Ray Eames, featured brown leather upholstery and brass accents to complement Platner's design, and notably, still included pull-out ashtrays. #SheilaHicks #FordFoundation #TextileArt #ModernistDesign #InteriorDesign #ArchitecturalRenovation #ArtInstallation #WarrenPlatner #KevinRocheJohnDinkeloo

This article provides an overview of the "Hanging Around" exhibit, a permanent collection of modern and contemporary lighting at the Philadelphia Museum of Art, as observed during a visit on a Sunday. The exhibit features several notable works by prominent designers, with a particular focus on the innovative creations of German designer Ingo Maurer. The collection showcases a variety of lighting designs, from functional pieces to artistic installations, highlighting the evolution and creativity within contemporary lighting. Among the highlights from the exhibition is the Lüster Chandelier, a two-dimensional LED chandelier designed by Ingo Maurer. This piece exemplifies a playful and unconventional approach to traditional chandelier design, utilizing modern LED technology to create a flat, illuminated form that reinterprets a classic lighting fixture. Its innovative use of light and form makes it a standout piece in the collection. Another significant work by Ingo Maurer featured in the exhibit is the 2003 lamp titled “Wo bist du, Edison?” (meaning “Where Are You, Edison?”). This hanging pendant lamp incorporates a 360-degree holographic image of a light bulb projected onto a transparent cylindrical shade. The actual light source, a halogen light, is concealed above the shade, positioned within a socket shaped to resemble Thomas Edison’s profile. This design ingeniously combines historical reference with advanced holographic technology to create a visually striking and thought-provoking lighting experience, albeit challenging to capture accurately in photographs. The Tears of The Fisherman light sculpture, also by Ingo Maurer, is another favored piece. This sculpture was conceived after Maurer's trip to Venice, where he was inspired by the way sunlight interacted with water droplets suspended from fishermen’s nets. The artwork translates this natural phenomenon into an artistic light installation, embodying fluidity and reflection through its design. This piece further underscores Maurer's ability to draw inspiration from everyday observations and transform them into unique and captivating lighting. Beyond Ingo Maurer's contributions, the exhibit includes works from other renowned designers such as Ross Lovegrove, George Nelson, Marcel Wanders, Rody Graumans, and Poul Henningsen, indicating a diverse representation of influential figures in modern lighting design. These designers collectively showcase a broad spectrum of styles and innovations in contemporary lighting, from functional lamps to sculptural forms. The article also mentions an untitled light sculpture from 1992 by Felix Gonzalez-Torres, encountered during the visitor's departure. This particular piece is described as a "waterfall of endless light bulbs," where each bulb appears to power the next. This installation creates a sense of continuous light and energy, suggesting themes of interconnectedness and infinity through its simple yet profound arrangement of light sources. The inclusion of this work emphasizes the artistic and conceptual dimensions of light within the museum's collection. #ArtExhibition #LightingDesign #ContemporaryArt #IngoMaurer #MuseumVisit #DesignInnovation #PhiladelphiaMuseumOfArt #ModernLighting #FelixGonzalezTorres

The importance of a well-conceived lighting plan in home design is often underestimated, frequently being an afterthought rather than an integral part of the initial concept. Good lighting significantly contributes to an inhabitant's well-being, optimizes functionality, and elevates the overall aesthetic of a room, transforming an ordinary space into something remarkable through strategic fixture selection and placement. This principle was vividly demonstrated at the recent WOW!house design exhibit held at the Design Centre, Chelsea Harbour in London, England. The exhibition featured 22 unique rooms, each crafted by leading interior designers, where lighting often took center stage. The WOW!house exhibition, open to the public for a month in June to support the United in Design charity, was not a traditional house but an innovative installation. It comprised a series of exterior and interior spaces within the atrium of the Design Centre. These spaces were diverse, ranging from entries, kitchens, dens, bars, and dining areas to libraries, bathrooms, bedrooms, and outdoor courtyards, all brimming with originality and creative design solutions. Across most of these spectacular settings, lighting played a prominent role in defining the ambiance and functionality. One of the most striking examples was the grand entry of the installation, which featured an dramatic leaf chandelier by Cox London. Victoria Davar, founder of Maison Artefact, specifically requested a five-meter ceiling height to ensure the fixture was not only accommodated but also given pride of place, asserting its visual dominance upon entry. Davar emphasized that this height aligns with classical design principles. Her design philosophy for the entry embraced a blend of classical and modern elements, where the chandelier was framed against a traditional-surround fireplace. This approach allowed each element to balance the other, creating a dialogue between the old and the new. Davar intentionally utilized negative space, leaving the wall above the fireplace blank, to allow the chandelier to stand out as a sculptural piece without visual interruption, fostering a sense of airiness. Another innovative approach was seen in the courtyard room designed by Emma Sims-Hilditch. This multi-functional space, envisioned to support various aspects of country living such as a boot room, dog wash station, and gardening area, integrated classical elements of heritage country homes with modern touches. Sims-Hilditch positioned an oversized Charles Edwards lantern as a focal point above an island, drawing inspiration from classical English country house lanterns. The lantern received a contemporary update through its coloration, painted in Farrow & Ball's Lulworth Blue. Wall lights, inspired by carriage lanterns, and pendant lights with fabric shades in corner spaces were strategically placed to layer the lighting, ensuring both functionality and comfort. Sims-Hilditch underscored the importance of soft lighting and avoiding bare bulbs, opting for a layered system that included John Cullen Lighting for downlights and Soane Britain for wall lights. The bathroom designed by 1508 London exemplified how lighting can transform a functional space into a luxurious retreat. The design studio incorporated an advanced lighting system by John Cullen Lighting and Lutron, offering three distinct illumination programs: Ritual, Revitalizing, and Revery. Paris Albert, an associate at 1508 London, explained that “Ritual” supports daily cleansing routines, “Revitalizing” enhances vanities and showers for rejuvenation, and “Revery” creates a dreamlike state for relaxation. These options, accessible at the touch of a button, elevated the bathroom experience from mere utility to a restorative escape. Interior decorator and antiques dealer Daniel Slowik presented his morning room design, emphasizing subtle, layered lighting rather than bright, centralized fixtures or intrusive task lighting. He advocated for side lights, often converting decorative vases or antique items like Arts & Crafts candlesticks into lamps, to create ambient illumination. Slowik aimed for a subdued, not overlit, atmosphere, focusing on objects that also serve as beautiful design elements. While generally disliking overt task lighting, he integrated a brass floor lamp discreetly next to a reading chair, chosen for its distressed appearance that conveyed a sense of history and permanence. The unifying theme across all these designs is the necessity for lighting to be an intrinsic component of the overall design strategy. A thoughtful approach to illumination enhances comfort and functionality, highlights the aesthetic, and can dramatically transform a room into a unique and spectacular environment. #HomeDesign #InteriorDesign #LightingSolutions #WOWHouse #DesignExhibition #ArchitecturalLighting #DecorativeLighting #SmartLighting

The article discusses the collaboration between fashion label COS and American light-based artist Phillip K Smith III for an installation titled 'Open Sky' at Milan's Salone del Mobile. This project, featured in the 2018 edition of the design fair, marks a significant departure for both parties: Smith's first brand collaboration and his initial foray into a dense urban setting, moving away from his usual desert landscapes. COS, known for its annual design collaborations since 2012 with talents like Sou Fujimoto and Studio Swine, aimed to create an experience that transcends traditional art and design boundaries. Karin Gustafsson, COS' creative director, emphasizes that the brand's collaborations are driven by passion for the artists' work rather than a desire for increased presence. She highlights that COS provides a broad brief, focusing on brand values but allowing artists creative freedom. The choice of Phillip K Smith III was influenced by the shared values of tactility, modernity, and functionality, as well as Smith's meticulous attention to detail and the timeless quality of his work, which resonated with COS' aesthetic. 'Open Sky' is strategically placed within the 16th-century Palazzo Isimbardi, an exhibition venue previously unused. Smith's sculpture, a circular mirrored structure angled at 43 degrees, reflects the sky and surrounding Italian Renaissance architecture, drawing fragmented views into the courtyard. This design aims to create a unique and personal experience for each visitor, influenced by the time of day and atmospheric conditions. The installation encourages contemplation, offering a quiet respite from the bustling Salone del Mobile. The ambitious structure, an 11ft-tall concrete form with 34 chemically polished stainless steel panels, was fabricated by UAP, an international studio specializing in public art projects. The components were manufactured at UAP's Long Island City facility, then shipped to Milan for on-site assembly. The installation's journey begins with visitors encountering the imposing concrete form, which contrasts sharply with the classical palazzo. A single opening guides them along its circumference, eventually revealing the mirrored inner surface that reflects the Renaissance architecture and the sky. Additionally, smaller freestanding sculptures by Smith are installed in the palazzo's outdoor gardens, further exploring the distillation of his larger concepts into abstract, smaller-scale works. Smith notes that COS's support was instrumental in realizing his vision, allowing the concept to remain remarkably true to his original proposal. He describes the collaboration as akin to a museum offering space and budget, indicating COS's commitment to supporting artistic ideas. With degrees in both architecture and fine art from the Rhode Island School of Design, Smith effectively merges these disciplines in his practice, creating art at an architectural scale. His architectural training informs his approach to context and detailing, ensuring the concept and experience are pure. 'Open Sky' represents a significant development in Smith's practice, allowing him to explore his ideas on an architectural scale within an urban environment, an opportunity that he suggests would have been much smaller without COS's involvement. #SaloneDelMobile #COS #PhillipKSmithIII #ArtInstallation #MilanDesignWeek #ArchitecturalDesign #ReflectiveArt #ContemporaryArt #DesignCollaboration

Artist and architect Inés Esnal has unveiled her Prism installation, transforming the lobby of a new residential building in New York City. The artwork utilizes colorful elastic ropes to create intricate triangular formations that serve to filter light, producing a dynamic interplay of vivid colors and optical illusions. This installation provides a stark and compelling contrast to the lobby's existing concrete walls, injecting an element of artistic vibrancy into the otherwise stark architectural setting. The Prism installation is characterized by its use of stretched elastic ropes, meticulously arranged to form geometric patterns. These ropes, varying in color, intersect and overlap, creating a complex web that interacts with the ambient light. As light passes through these colored strands, it is fractured and dispersed, casting a spectrum of hues across the lobby space. This optical phenomenon changes throughout the day, depending on the angle and intensity of natural light, offering a constantly evolving visual experience for residents and visitors. The design intention behind Prism is to introduce an element of surprise and visual engagement within a functional architectural space. By contrasting the inherent rigidity and monochromatic nature of concrete with the fluidity and vibrant palette of the elastic ropes, Esnal challenges conventional perceptions of lobby design. The installation effectively redefines the entrance area, transforming it from a transitional zone into an immersive artistic environment. Esnal's work often explores the relationship between art, architecture, and human perception. In Prism, she employs principles of geometry and optics to manipulate space and light, thereby creating an illusory depth and movement within a static structure. The triangular shapes formed by the ropes evoke the concept of prisms, which are known for their ability to refract light into its constituent colors. This not only imbues the space with aesthetic appeal but also invites viewers to contemplate the scientific and artistic principles at play. The installation aims to enhance the sensory experience of the building's occupants, offering a momentary escape from the urban environment. The selection of elastic ropes as the primary material allows for flexibility in form and an ethereal quality that belies the material's strength. This choice also contributes to the lightweight and seemingly gravity-defying appearance of the artwork, further emphasizing its illusory nature. The vibrant colors chosen are intended to evoke a sense of energy and warmth, counteracting the potentially cold aesthetic of modern concrete architecture. The overall effect is one of harmony between the artistic intervention and the architectural context, demonstrating how art can profoundly alter and enrich built environments. #ArchitecturalInstallation #PublicArt #LobbyDesign #InesEsnal #OpticalIllusions #ElasticRopeArt #NYCArchitecture #ColorTheory #GeometricArt

Rana Salam, a Lebanese-British graphic designer, has established a notable presence in the design world by uniquely blending Lebanese and Middle Eastern pop culture with retro and pop art influences. Born in Lebanon, Salam's early inspiration stemmed from her architect father, Assem Salam, and a Vespa gifted to her at age 15, which encouraged her to explore Beirut's art-filled streets. Her distinctive style is characterized by transforming visual snippets from billboards, vintage film posters, and signs into large-scale, retro-inspired art pieces, utilizing modern design technology to present her interpretation of pop culture to a global audience. Salam pursued her higher education in England, earning a BA in Graphic Design from Central St. Martins and a Master’s Degree in Visual Communication and Art Direction from the Royal College of Art in 1992. During this period, she recognized the rich creative potential within her home country and developed a passion for pop arts, focusing on reinventing them with contemporary flair. Her career gained momentum in 1995 when she established Rana Salam STUDIO in London. A pivotal early project involved designing a window display for Harvey Nichols, a prominent London department store, using collages of street billboards and featuring iconic figures like Bettie Page and Brigitte Bardot. Further solidifying her reputation, Salam drew inspiration from renowned designers such as Paul Smith, Sonja Rykiel, and Kate Spade. Following her success with Harvey Nichols, she was commissioned to design the new swimwear department for Liberty of London. A significant milestone in her career was the 2008 publication of her book, “The Secret Life of Syrian Lingerie,” co-authored with Malu Halasa, which sold 5,000 copies in its first year, marking it as a considerable success. After living in England for 27 years, where she absorbed the local art culture and integrated it into her Middle Eastern-inspired designs, Salam relocated her Rana Salam STUDIO to Beirut in 2010. A year later, she expanded her enterprise by opening the Rana Salam SHOP, which offers home products, accessories, art, and prints. Her focus is on curating unique objects to enrich her artistic creations, striving to portray Lebanon and the Middle East in a positive light through her work. As an entrepreneur, Salam's influence extends internationally, with projects and designs in cities including Miami, London, Dubai, Istanbul, and Milano. Her collaborations include working with Sauce Dubai to recreate Ferruccio Laviani’s classic Bourgie Lamp for Kartell and developing a new design for the iconic Converse brand as part of the “Made By You” project in 2015. She also contributed a pop-up installation to the Istanbul Design Biennale in 2017. More recently, she has been involved in designing for notable Lebanese restaurants in the diaspora, such as Comptoir Libanais in London and Noura in Paris. Rana Salam remains committed to her artistic mission of transforming perceptions of the Middle East through the transformative power of design. #RanaSalam #LebaneseDesigner #BritishDesigner #PopArt #GraphicDesign #MiddleEasternCulture #ArtDirection #DesignEntrepreneur #CulturalFusion