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24 EDITOR’S LETTER 28 CONTRIBUTORS 32 COLUMNISTS on Epiphanies 124 STILL LIFE Renzo Piano The renowned architect shares a few of his favorite things. Photography by Beppo Brancato

What’s News.

35 Givenchy’s Riccardo Tisci Designs for Nike Three Foundations for Beautiful Skin

38 Summer’s Most Exciting Fiction Reads Mimi Jung’s Art Lands at NYC’s Chamber Gallery Swiss Watchmaker Hublot Teams Up With Berluti

40 Valentino Designers Launch a Collection of Basics

42 Marthe Armitage Designs for Jo Malone London Hairstylist Jen Atkin’s New Hair-Care Supplements Asbury Park’s First New Hotel in 50 Years

44 Le Monde Beryl Debuts a Line of Velvet Slippers A Greek Arts Foundation Celebrates Its Anniversary Luxury-Appliance Retailer PIRCH Expands to NYC

46 The Met’s Costume Institute Taps an OMA Architect

48 The Download: Thomas Middleditch

Market report.

51 TOP OF THE LINE Break the habit of basic black with this season’s bold accessories in bright colors and eye-catching new shapes. Photography by Robin Broadbent Prop Styling by Betil Dagdelen Fashion Editor David Thielebeule

ON THE COVER Larry Gagosian, photographed by Roe Ethridge (an artist he represents) at Gagosian Gallery in New York City, in front of Mixing Palette #1 (2016) by Urs Fischer.

112 THIS PAGE The Sítio Roberto Burle Marx, near Rio de Janeiro, photographed by Luis Ridao. ralphlauren.com 61 870 MADISON AVENUE NEW YORK

Clockwise from left: Photographed by Zoe Ghertner and styled by Brian Molloy. The Row top and Trademark skirt with sash belt. For details see Sources, page 123. General Motors CEO Mary Barra in her office in Detroit. Art dealer Larry Gagosian, 72 photographed by 84 Roe Ethridge. the exchange. Style & Design.

61 TRACKED: Mary Barra 66 POWER OF THREE 72 A SENSE OF ORDER After a difficult start on the job, the For Rules of the Game, a top chore- The Shaker Village of Pleasant Hill CEO of General Motors is setting her ographer, an esteemed set designer in Kentucky is a peaceful setting to sights on the future. and a Grammy-winning musician join showcase pared-down, modern By Christopher Ross forces. The result: a groundbreaking looks that hark back to times gone by. Photography by Brian Widdis performance piece. Photography by Zoe Ghertner By Jason Gay Styling by Brian Molloy 64 LESS IS MORE FUN Photography by Thomas Giddings Oki Sato, the prolific designer be- 84 LARRY GAGOSIAN hind Japanese design studio Nendo The famously bullish art dealer whose work is featured in several built an empire spanning 16 locations upcoming exhibitions, is a master around the globe by never saying no of the joys of minimalism. to his artists’ ambitions. With an By Jay Cheshes estimated $1 billion in annual sales, Photography by Takashi Yasumura does Larry Gagosian have anything more to conquer? By Elisa Lipsky-Karasz Photography by Roe Ethridge “This record was an aTTempT To see myself more clearly.” –anohni, page 110

110

Clockwise from top: Anohni, lead singer of Antony and the Johnsons, photographed by Julia Hetta. Cordon green glass disc, photographed by Nicholas Alan Cope and prop styled by Adrian Crabbs. For details see Sources, page 123. Artist Duke Riley, photographed 118 92 by Pari Dukovic.

Style & Design, cont.

92 SHINE BRIGHT 102 STRONG SUITS 112 FERTILE GROUND When artful finishes meet layers Step into a story about masculine- A new exhibit on modernist Brazilian of color, the results are crystal clear: inspired ensembles that are landscape designer Roberto Burle Contemporary glass furnishings tailor-made for an independent spirit. Marx demonstrates his importance to ©2016 CHANEL ©2016 bring a brilliant new dimension to Photography by Annemarieke contemporary artists, including any interior. van Drimmelen superstar painter Beatriz Milhazes. By Sarah Medford Styling by Anastasia Barbieri By Carol Kino

Photography by Nicholas Alan Cope Photography by Luis Ridao ® , Inc., Prop Styling by Adrian Crabbs 110 THE RIGHT NOTE B

Six years after her last album, the 118 FLY AWAY HOME ®

98 A MARRIAGE OF MINDS lead singer of cult band Antony Artist Duke Riley’s new performance AT CHANEL.COM AVAILABLE With the release of relationship com- and the Johnsons returns as Anohni, piece will send thousands of pigeons edy Maggie’s Plan, writer-director with a new release. over the Brooklyn Navy Yard—and, Rebecca Miller reunites with the cast By Alex Clark he hopes, forever change our percep- (Julianne Moore, Greta Gerwig, Photography by Julia Hetta tion of his feathered friends. Ethan Hawke) to discuss on-screen By Tony Perrottet love triangles and real-life romances. Photography by Pari Dukovic By Andrew Goldman Photography by Maciek Kobielski Styling by Karen Kaiser editor’s letter THE ART OF FLIGHT

ILLUSTRATION BY ALEJANDRO CARDENAS

WINGS OF DESIRE Anubis and Bast (both in Bottega Veneta) take in Duke Riley’s Fly by Night, a forthcoming performance piece involving thousands of pigeons.

UR MAY ISSUE, featuring profiles of indi- he’s known for his business acumen, Gagosian has no doubt been enriched by the fact that she’s not only viduals from a variety of fields, from music also earned a reputation for encouraging artists like an acclaimed artist (a filmmaker and an author) but to art to film, is something of a meditation Jeff Koons and Richard Serra to explore their cre- also married to one (Daniel Day-Lewis). In this issue, on the creative temperament. In these sto- ative ambitions on an unprecedented scale. she joins the stars of her latest film, Maggie’s Plan, Ories we explore the seismic changes in how art today For Anohni—until recently known as Antony in a lively conversation about marriage, love, artis- is viewed and sold, as well as the age-old, alchemi- Hegarty, lead singer of Antony and the Johnsons— tic inspiration and the often comical difficulties that cal process of turning everyday life experience into art has always been about self-understanding. Her arise when they collide. When generating a work of something that will stand the test of time. new album (Hopelessness, out this month) marks her art, says Miller, “I don’t think you can avoid your own Few people are as well-connected in the contem- debut under her new name and her now public identity life…the pitfalls and the beauties of it.” Amen. porary art world as dealer Larry Gagosian, credited as a transgender woman. Anohni’s quest for self- with helping to generate the astronomical growth in knowledge has fueled a music career that includes the global art market. Gagosian’s empire—compris- collaborations with Björk, Marina Abramovic and ing 16 galleries around the world, including a new Lou Reed. “Life is short, and there’s something to be Kristina O’Neill one opening in San Francisco this month—makes an said for being true to yourself,” she says. [email protected] estimated $1 billion in annual sales. Yet as much as Rebecca Miller’s understanding of creativity has Instagram: kristina_oneill

24 wsj. magazine EDITOR IN CHIEF Kristina O’Neill

CREATIVE DIRECTOR Magnus Berger

EXECUTIVE EDITOR Chris Knutsen VP/PUBLISHER Anthony Cenname ASSOCIATE PUBLISHER Stephanie Arnold MANAGING EDITOR Brekke Fletcher ASSOCIATE PUBLISHER/LUXURY Alberto Apodaca DEPUTY EDITOR Elisa Lipsky-Karasz BUSINESS DIRECTOR Julie Checketts Andris MULTIMEDIA DIRECTOR/LUXURY-EU Omblyne Pelier DESIGN DIRECTOR Pierre Tardif EXECUTIVE FASHION DIRECTOR Claudia Silver PHOTOGRAPHY DIRECTOR Jennifer Pastore TRAVEL DIRECTOR Kevin Dailey BRAND DIRECTOR Caroline Daddario FEATURES EDITOR Lenora Jane Estes BRAND MANAGER Tessa Ku STYLE DIRECTOR David Thielebeule MAGAZINE COORDINATOR Suzanne Drennen LUXURY SALES COORDINATOR Robert D. Eisenhart iii ART DIRECTOR Tanya Moskowitz

SENIOR PHOTO EDITOR Damian Prado EXECUTIVE CHAIRMAN, NEWS CORP Rupert Murdoch CHIEF EXECUTIVE OFFICER, NEWS CORP Robert Thomson ASSOCIATE EDITOR Thomas Gebremedhin CHIEF EXECUTIVE OFFICER, DOW JONES & COMPANY William Lewis COPY CHIEF Ali Bahrampour EDITOR IN CHIEF, THE WALL STREET JOURNAL Gerard Baker SENIOR DEPUTY MANAGING EDITOR, THE WALL STREET JOURNAL PRODUCTION DIRECTOR Scott White Michael W. Miller RESEARCH CHIEF Randy Hartwell EDITORIAL DIRECTOR, WSJ. WEEKEND Emily Nelson

SENIOR MARKET EDITOR Laura Stoloff HEAD OF GLOBAL SALES, THE WALL STREET JOURNAL MARKET EDITOR Isaiah Freeman-Schub Trevor Fellows SENIOR VP MULTIMEDIA SALES Etienne Katz ASSOCIATE MARKET EDITOR Alexander Fisher VP MULTIMEDIA SALES Christina Babbits, ASSISTANT PHOTO EDITOR Meghan Benson Chris Collins, John Kennelly, Robert Welch VP VERTICAL MARKETS Marti Gallardo EDITORIAL ASSISTANT Sara Morosi SVP STRATEGY AND OPERATIONS Evan Chadakoff ART & PRODUCTION ASSISTANT Caroline Newton VP AD SERVICES Paul Cousineau VP INTEGRATED MARKETING Drew Stoneman FASHION ASSISTANT Giau Nguyen VP CORPORATE COMMUNICATIONS Colleen Schwartz PHOTO ASSISTANT Amanda Webster EXECUTIVE DIRECTOR, MULTIMEDIA SALES/ASIA Mark Rogers EXECUTIVE DIRECTOR, GLOBAL EVENTS Sara Shenasky WEB EDITOR Seunghee Suh SENIOR MANAGER, GLOBAL EVENTS Katie Grossman CONTRIBUTING EDITORS MANAGER, GLOBAL EVENTS Diana Capasso Michael Clerizo, Julie Coe, Kelly Crow, AD SERVICES, MAGAZINE MANAGER Don Lisk Jason Gay, Jacqui Getty, Andrew Goldman, AD SERVICES, BUREAU ASSOCIATE Tom Roggina Howie Kahn, Joshua Levine, Sarah Medford, Meenal Mistry, Clare O’Shea, Sarah Perry,

Christopher Ross, Fanny Singer, Dacus Thompson WSJ. Issue 71, May 2016, Copyright 2016, Dow Jones and Company, Inc. All rights reserved. See the magazine online CONTRIBUTING SPECIAL PROJECTS DIRECTOR at www.wsjmagazine.com. Reproduction in whole or in part Andrea Oliveri without written permission is prohibited. WSJ. Magazine is provided as a supplement to The Wall Street Journal SPECIAL THANKS Tenzin Wild for subscribers who receive delivery of the Saturday Weekend Edition and on newsstands. WSJ. Magazine is not available for individual retail sale. For Customer Service, please call 1-800-JOURNAL (1-800-568-7625), send email to [email protected] or write us at: 200 Burnett Road, Chicopee, MA 01020. For advertising inquiries, please email us at [email protected]. For reprints, please call 800-843-0008, email [email protected] or visit our reprints Web address at www.djreprints.com.

26 wsj. magazine may 2016 CONTRIBUTORS COACH® ©2016

BY SARA MOROSI

IN FOCUS Roe Ethridge photographed Larry Gagosian in his namesake gallery in New York City.

ROE ETHRIDGE & ELISA LIPSKY-KARASZ larry GaGosian p. 84

“I thought it would be great to see a portrait of Larry smiling,” says Roe Ethridge, who photographed the art dealer Larry Gagosian at his Madison Avenue headquarters, against Urs Fischer’s Misunderstandings in the Quest for the Universal installation, for this month’s WSJ. “I got my image, and [it’s on] the cover, to boot,” adds Ethridge. Writer Elisa Lipsky-Karasz, WSJ.’s deputy editor, met Gagosian at a lunch celebrating Jeff Koons’s massive topiary work Split-Rocker at New York’s Rockefeller Center in 2014. “It was an introduction to his gregarious side,” says Lipsky-Karasz, who interviewed several figures SAME OLD, SAME OLD. AND IT’S COOL. present that day for this piece. “The challenge was finding space for all their great stories.” Apparently, what’s old is new again. You’d think, then, it would be a perfect moment for a 75-year-old brand to make a comeback—but how can you come back if you never left?

COACH. The Authentic Authentic. CLOCKWISE FROM TOP: JENNIFER PASTORE; COURTESY OF ROE ETHRIDGE; DAVID X PRUTTING/BFA.COM

COACH.COM/75YEARS 28 wsj. maGazine may 2016 CONTRIBUTORS French Art de Vivre

ZOE GHERTNER & BRIAN MOLLOY a sense of order p. 72

Stylist Brian Molloy attended a Quaker school growing up, so when on assignment for WSJ. at Shaker Village of Pleasant Hill in Kentucky, he felt an affinity. “It had a kind of nostalgia for me,” he says, noting the similarity between Shaker and Quaker architec- ture. “The design sensibility is very modern.” Molloy and photographer Zoe Ghertner, who proposed the location, used the historic Meeting House as a backdrop for this season’s fresh takes on white cotton. “Whether ruffled, pleated or wrapped, the different shapes and forms move from very classic to very progressive,” Molloy says.

CAROL KINO & LUIS RIDAO fertile Ground p. 112

“Beatriz Milhazes’s work is ironic because she’s setting up stereotypes about Brazilian culture, but in a celebratory, fearless way,” says writer Carol Kino. The contemporary painter figures prominently in Kino’s article on a new exhibit at New York’s Jewish Museum that explores the late Brazilian landscape designer Roberto Burle Marx and his legacy. Photographer Luis Ridao traveled to Rio de Janeiro to photograph Burle Program available on selected items and subject to availability. Marx’s estate and Milhazes at her studio. “I tried to capture her in a natural way,” says 2 Ridao. “Beauty is everywhere, but for me it’s most inspiring when it’s honest.”

TONY PERROTTET & PARI DUKOVIC

fly away home p. 118 Conditions apply, ask your store for more details. 1

A generation ago, many New Yorkers raised pigeons. “There used to be thousands of coops across the boroughs—it was a culture and a community, but it’s disappearing,” says writer Tony Perrottet (left). His subject this issue, Duke Riley, is an artist who is reviving this lost tradition, training a huge flock for a performance piece that will take off in May over the East River. Photographer Pari Dukovic visited Riley on a rainy day at one of his Brooklyn roosts. After spending time there, Perrottet voices a new apprecia- tion for the birds: “They’re a metaphor for a changing New York.”

JULIA HETTA & ALEX CLARK the riGht note p. 110 Photo Michel Gibert.Photo Michel thanks: Special www.marc-lepilleur.com. / molodesign.com Writer Alex Clark (right) is a longtime follower of the cult band Antony and the Johnsons, whose lead singer is releasing an album under her new name, Anohni. Clark knew of the British-born star’s reputation for pushing social and musical limits, but found her to be rather shy offstage. “We’re used to celebrities having a real confidence and slickness about them,” says Clark. But as Anohni opened up about her interests, her reticence disappeared. “The passion with which she talked about her environmental and political concerns was striking,” Clark notes. Julia Hetta, who photographed Anohni in Stockholm, Aqua. Dining table, design Fabrice Berrux.

sought to capture the artist “as close to the essence of her music and art as possible.” FROM TOP TO BOTTOM, LEFT TO RIGHT: COURTESY OF ZOE GHERTNER; SELF-PORTRAIT; LOUISA MCCUNE; COURTESY OF LUIS RIDAO; COURTESY OF TONY PERROTTET; MARCUS MORRIS; BJÖRN WEIDINGER; MARK VESSEY Céleste. Armchair, design Cédric Ragot. Manufactured in Europe.

30 wsj. maGazine ∙ Complimentary 3D Interior Design Service 1 ∙ Quick Ship program available 2 www.roche-bobois.com soapbox THE COLUMNISTS WSJ. asks six luminaries to weigh in on a single topic. This month: Epiphanies.

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“You have a certain “Twenty years ago, I was “There’s something like “The misleading thing “We build stories around “Listen, I’m a memoirist. set of relationships and quoted in a newspaper a hallelujah imprinted in about science is that epiphanies. Take Spider- Anyone with 10 bucks you have a story; but complaining about the the word epiphany. The people have epiphanies, Man. He’s bitten by can buy a copy of Eat, suddenly, something can look of a local Berkeley force of these moments those aha moments, a radioactive spider Pray, Love and read all change and you have a school—the lawn was is part of the reason we all the time. But then around the same time about my epiphanies. new story. At 32, I was a burnt out, the windows even create a category someone says, ‘You’re his beloved uncle is The reason epiphanies doctor practicing medi- had graffiti on them. like epiphany. They probably wrong,’ killed. His new powers feel so surprising is cine. I saw how people Well, the principal called chasten you, suggesting and someone else says, are a call to action, and twofold. First, it’s the responded unpredictably me. I visited the school that there are levels of ‘You’re probably right.’ his narrative builds from surprise of seeing a to treatment. Two peo- and we walked around. It meaning and compre- Sometimes you do have there. Epiphanies are truth revealed. Second, ple could have the same was built in 1922 for 500 hension available that big insights, and that’s the moments that cannot it’s the deep shock of illness, see the same kids—now there were choose human beings very exciting, but be ignored. If you can wondering why it took doctor and still have nearly 1,000. We came rather than the other in research, you must ignore it and just move you so long to see it in different outcomes. One upon a large area; all way around. In 1985, balance these moments on, it’s not really an the first place. It’s some- day I had an epiphany at once, I saw a garden I was living in St. Louis with a more sober epiphany, is it? It boils thing that was there all that body and mind were there instead of an aban- when I heard that a approach. What are we down to the moment a the while. Sometimes one. It was startling doned lot. And then there friend in New York had missing? Why has character realizes what an epiphany can be very because I hadn’t been was a little shack in the died of AIDS. That night, this not been recognized they think they want beautiful, like when you trained like that. I faced back where I envisioned I went to bed and had a before? When things isn’t what they actually realize you’re in love huge opposition from an enormous cafeteria, dream of an angel crash- come together beauti- need. Making documen- with your best friend. the mainstream. But you one that could seat every ing through the ceiling, fully, that’s an epiphany. taries, like Chef’s Table Other times it can be don’t have to moti- child, where they could staring down at my In my house, I might and Jiro Dreams of Sushi, incredibly painful. For vate yourself to follow eat for free. I’ve always friend in his bed. When have an aha moment we literally ask, ‘What me, the biggest and most through on an epiphany; felt that a table can be a I decided to write Angels when I realize that are the most impor- important personal you do it anyway place of true equality in in America, I knew that the painting I bought tant moments in your epiphany of my life was because you’re inspired. America. Everyone sits image would be a part of matches the color of the life? When did things that bouncing from man Motivation, instead, and eats together. I never the thing. With Lincoln, wall. You see how things change?’ We try to find to man was not actually is a result of wanting to thought of the garden as my epiphany was fit together. I think the key moments that a path to happiness and transform. I want to lose simply providing food Spielberg saying, ‘I want people like the idea of led chefs in new direc- fulfillment. The empti- weight so I’m going for the cafeteria, but you to write me a movie epiphanies because they tions. Epiphanies in life ness I was trying to fill to motivate myself to go instead a place where the about Lincoln!’ You look like the idea of things tend to lead to epipha- was not going to be filled to the gym—it doesn’t children could learn. Of for these moments as a being simpler than they nies in cooking. The by leaping into the arms work! After 15 days course, my idea eventu- writer, when something are, almost magically most interesting chefs and bed of somebody the gym gets my mem- ally grew into the Edible clicks. You’re always presented. But most base their dishes on else. But an epiphany is bership fee, and I’m not Schoolyard project, hoping that as you do problems, especially in these transformative not an obligation. It’s going anymore. But which now has reach all it, you’re excavating science, are complex, periods.” an invitation. What you with epiphanies, there’s around the world. a tunnel that you can go and they require not just do with that invitation no going back. ” But it all began with that down to get to things one epiphany but many.” is up to you.” one epiphany.” you didn’t know before.”

Randall is a professor of sci- Gelb is a film director. The Chopra is the author of more Waters is a chef, restaurateur ence at Harvard University second season of Chef’s Gilbert is a writer. She is the than 75 books, including the and creator of the Edible Kushner is a playwright and and author of Dark Matter Table premieres this month author of Eat, Pray, Love and recent Super Genes. Schoolyard program. screenwriter. and the Dinosaurs. on Netflix. Big Magic. EXCLUSIVE SALES AND MARKETING AGENT: ZECKENDORF MARKETING, LLC

THE COMPLETE OFFERING TERMS ARE IN AN OFFERING PLAN AVAILABLE FROM SPONSOR. FILE NO. CD08-0279. SPONSOR: G-Z/10 UNP REALTY, LLC, 32 wsj. magazine 445 PARK AVENUE, 19TH FLOOR, NY, NY 10022. EQUAL HOUSING OPPORTUNITY. ACTUAL PHOTOGRAPH / DUPLEX PENTHOUSE FOR THE DEALERNEAREST YOUPLEASECALL 1800872 1697 [email protected] MIAMI -SANFRANCISCO -SEATTLESUNVALLEY -MEXICOCITYBELOHORIZONTE -SAOPAULO MAXALTO ANDB&B ITALIASTORES:NEWYORK-WASHINGTON D.C.-AUSTINDALLAS -HOUSTONLOSANGELES MAXALTO ISAB&BITALIA BRAND.COLLECTIONCOORDINATED BYANTONIOCITTERIO.WWW.MAXALTO.IT

p.c. studio - photo tommaso sartori wsj. magazine the world of culture culture of world the & style what’s news. what’s RT: Training Redefined Redefined RT: Training couture,” says Riccardo Riccardo says couture,” x RT top, tights, skirt, skirt, tights, x RT top, medal sprinter Sanya Sanya sprinter medal upcoming NikeLab x NikeLab upcoming Tisci, Tisci, photographed “I brought my street street my brought “I collection. NikeLab NikeLab collection. side with a touch of of atouch with side WORK BODY WORK OF with Olympic gold gold Olympic with Richards-Ross in in Richards-Ross designs from his his from designs bag and shoes. shoes. and bag W tion run of another popular ’80s basketball shoe, shoe, basketball ’80s popular another of run tion limited-edi- a produce to again up Tisci teamed February, Nike and In price.) asking original the twice as much as $700, for eBay on sell still (Pairs laugh. a with says Tisci success,” big a such expect didn’t we but to a be success, going it was thought “We models. up the to stores scoop concept NikeLab outside hours with orange for waited sneakerheads Self-dubbed and stripes. graphic white black, of shades striking in came that boot a as well as knee-high styles, high and mid low, in silhouettes new four created He design. 1982 a sneaker, 1 Force Air trademark its to re-envision him tapped giant sports the when Nike, to thetic and-white to vibrantly colored prints. prints. colored to vibrantly and-white black- stark from veers that a palette in designs, goth West—are to streetwear-meets-glamorous his drawn menswear. including Kanye and Rihanna Madonna, year, Celebrities—including a responsible collections is eight he for later, years Eleven since accessories. and ready-to-wear director couture, haute overseeing 2005, creative been womenswear has 41, Givenchy’s designer, Italian-born The field. own fashion.” with mix you can garments create to wanted also I but sports, playing for was that tion collec- a do to wanted “I saying, well, as off-field live will designs edgy his hopes Tisci July. this launches line 30-piece approximately the alike, gym-goers ian civil- and Janeiro de Rio in Games Summer 2016 the for training Intended for athletes Olympic Redefined. Training RT: x NikeLab apparel, athletic of line first Tisci’s from pieces testing is sitting is Richards-Ross nearby. who Tisci, Riccardo designer fashion the over soars leggings then she skirt, zip-up striped ankle-length top, an and crop black a Wearing beat. a JUMP-START first athletic apparel collection.athletic first Riccardo Tisci, the designer of designer the Tisci, Riccardo w yas g, ic bogt i snua aes- singular his brought Tisci ago, years Two his in athlete endurance an of something is Tisci PHOTOGRAPHY BY JEREMY LIEBMAN BY JEREMY PHOTOGRAPHY Givenchy, create to his E TRACK-AND-FIELD HEN four-time Olympic gold medalist medalist missing gold without high?” “How replies, Olympic the jump, tofour-time asked is Richards-Ross BY SARAH CRISTOBAL BY SARAH Nike teams with with Nike teams partnership may 2016 may athlete Sanya Sanya athlete

35 > what’s news

the Dunk Lux High, released before beaut y of the annual NBA All-Star game. Meanwhile, Tisci had begun GOLDEN GLOW working on a line of clothing with Nike. The brand had previously col- A host of factors (stress, pollution, laborated with designer Chitose age, etc.) can conspire against Abe of Sacai on upscale sportswear, a luminous, lit-from-within complex- but this partnership was intended ion. Three new foundations to yield performance-quality gear. Working with Nike’s patented offer lightweight coverage free Dri-FIT fabric was a challenging of opacifying fillers to help produce departure from the silks, knits and radiant skin. Building on its cult- lace Tisci employs at Givenchy. “In the beginning I was, like, Oh, my God. favorite Touche Éclat highlighter Designing something that is super- pen, Yves Saint Laurent introduces dynamic, light and easy to wear is Touche Éclat Foundation, which sometimes difficult for a fashion contains stimulating plant extracts mind,” he says. “Usually I dream the shape and then I do the fabrics. [This that improve brightness. To guard time] I learned about the fabrics, the against environmental aggressors technology, the weight, the move- while providing a virtually poreless ment, and then I started working on finish, there’s Chanel Les Beiges my design.” The designers at NikeLab, the Healthy Glow Foundation. Finally, in-house team that is responsible Giorgio Armani Beauty Maestro for experimenting with all of Nike’s Glow eschews water as a main ingre- innovations, also found themselves outside their usual territory. At one dient in favor of nourishing oils that, of their first meetings in Paris, Tisci together with finely milled pigments, presented his idea for the long skirt. create a supple, flawless texture. “We were like, ‘Uh, no, Riccardo, All allow you to glow forth and con- we can’t do this; it’s a training col- lection,’ ” says Jarrett Reynolds, quer. For details see Sources, page 123. NikeLab’s senior design direc- —Megan Deem tor. “But he was adamant.” Tisci, y ves saint who has eight older sisters, says l aurent he designed it with them in mind. FLOWER POWER For this vibrant print, Tisci combined flowers from Italy, touche Éclat “When my sisters go to run, they Oregon and Brazil. Above: NikeLab x RT shoes, top, hat and bag. For details foundation see Sources, page 123. put a jumper around their waists because they don’t want to show off that part of their body,” he says. “So the point of the skirt was to wear it to work out, and For Tisci, physical fitness has personal significance then you can take it off or leave it on.” After a sam- beyond just working out. As a teenager, he had hopes ple version was successfully tested by Nike athletes of becoming a professional basketball player until an (who try out every proposed garment), the skirt went accident derailed his dreams. Then, after a decade, he into production. returned to the gym in part to help manage the anxiet- Hooded jackets, shorts, T-shirts and other elements ies of his high-profile position. “The job I’m doing is a of the collection, which retails from $40 to $255, were very beautiful job, but it’s very stressful and tiring,” similarly influenced by the needs of the athletes who says Tisci, who also boxes and plays beach volleyball. chanel would be wearing them. Before the design process “Working out means you have this moment to com- les beiges got underway, Richards-Ross and decathlon world- pletely concentrate on what your body wants.” healthy glow record holder Ashton Eaton—both of whom appear in This July, the black-and-white installment of his foundation the NikeLab x RT campaign that was shot by fashion pieces, including sports bras that read “Engineered photography duo Inez van Lamsweerde and Vinoodh to the exact specifications of Riccardo Tisci” across Matadin—told in-house designers what they prefer to the chest, will appear in NikeLab stores and on the wear while training. Eaton’s usual uniform of compres- Nike website. A second shipment, to be released in sion leggings worn under long shorts was re-created August, features an eye-popping print that is a hybrid as an all-in-one piece with a technically innovative of flowers from Tisci’s native Italy, Nike’s home state of singular waistband. There are also leg warmers that Oregon and the Olympic site of Brazil. Stars and a skull come in two pieces, a deconstructed take on the one- motif, also frequent Givenchy signatures, are hidden piece version Richards-Ross wore when she took gold within the flora. in the 400 meters at the London 2012 Olympic Games. “It’s two different worlds, but what I have learned at giorgio “It was nice to see it come together,” says Richards- Givenchy has become my language,” says Tisci. “And armani be aut y

Ross. “It was all Riccardo; he added the flair.” what I learn from Nike will become my language too.” maestro glow GROOMING BY JESSICA ORTIZ; F. MARTIN RAMIN, STYLING BY ANNE CARDENAS (MAKEUP)

36 wsj. magazine what’s news

WELL WOVEN Mimi Jung with several large-scale works at her Los Angeles studio.

buy the book ON THE RISE Several new releases by up-and-coming authors are vying for top billing on summer reading lists (including one that earned its first-time author a hefty advance). With such quality offerings, fiction fans can bank

on a season of exceptional reading. on displ ay

WILL YOU WON’T YOU WANT ME? In this story of a young Manhattan woman whose prep school glory FIBER OPTICS days are far behind her, writer Nora Zelevansky explores the precariousness of holding onto one’s Artist Mimi Jung came to weaving less than five years ago, but she’s wasted no time in past while forging a future. (St. Martins, April) redefining the practice for her own expressive ends. Like Rosemarie Trockel, Sheila Hicks and Pae White, Jung uses fiber as a wildly associative and intimate material language— THE GIRLS Emma Cline reportedly received around one she articulates in myriad forms, from compact hangings of wool or cotton to wall-size $2 million for a three-book deal; her first is this vividly wrought tale of an insecure California teen stretches of ombré mohair. This month, a teahouse laced together from gray and white who gets drawn into a Manson Family–style cult. polymer cord on a wood frame will beckon from inside Manhattan’s Chamber gallery as (Random House, June) part of its multi-artist summer exhibition, Progressland. Jung’s largest work to date, the cylindrical, seven-foot-wide structure will offer visitors a shifting sense of privacy GOODNIGHT, BEAUTIFUL WOMEN Set largely in coastal Maine, Anna Noyes’s stunning debut and personal reflection as the walls vary in transparency. “My work is based on the idea of collection concerns girls and women struggling to finding solace and power in introversion,” says the Los Angeles–based artist, who break away, dealing with burdens like mental illness also shows with Gallery Diet in Miami and Les Gens Heureux in Copenhagen. Looking for and neglect that threaten to transform and define them. (Grove Press, June) a new medium that wouldn’t require costly equipment, Jung, 34, transitioned to weav- ing from digital installation. Though handwork has its drawbacks—“it can be incredibly RICH AND PRETTY The 20-year friendship of two time-consuming to realize an idea to scale,” Jung admits—she still finds the process full of young women is tested when they find themselves on discovery. “With every mistake comes a new direction.” mimijung.com. —Sarah Medford different trajectories. Rumaan Alam creates char- acters who are grappling with their adult identities while securing their childhood bond. (Ecco, June)

HOMEGOING Yaa Gyasi’s ambitious first novel FINEST HOUR traces the family lines of two Ghanaian half-sisters Swiss watchmaker Hublot has collaborated with Berluti, CLOCKWISE FROM TOP RIGHT: COURTESY OF MIMI JUNG; F. MARTIN RAMIN, STYLING BY ANNE CARDENAS (2) over 300 years and, in the process, reveals the the Parisian shoemaker, to create limited-edition devastating legacy of slavery in both Africa and the timepieces. Each house brings its own expertise to the United States. (Knopf, June) collection, with Berluti’s patinated Venezia leather on both the strap and dial of Hublot’s Classic Fusion model. THE SUN IN YOUR EYES A female twist on the buddy Shown here is the 45-millimeter self-winding All Black genre, Deborah Shapiro’s road-trip novel follows ceramic version, of which only 500 are being produced. Its Viv and Lee, best friends from college whose relation- wristband features Berluti’s signature Gaspard incisions, ship has soured, on the hunt for the last, lost album inspired by artist Lucio Fontana’s canvas-slashing of Lee’s late rock-star father. (William Morrow, June) technique. $14,600; hublot.com. —Isaiah Freeman-Schub

38 wsj. magazine F UNIFORM RESPONSE UNIFORM 40 123. page Sources, see For details 2016 men’s collection. fall the from Alook right: Bottom clutch. envelope and minaudière Garavani Valentino and sneakers Garavani Valentino jacket, field peacoat, asweater, includes collection Untitled Rockstud Valentino’s right: top from Clockwise 2016 women’s collection. STYLE OF ELEMENTS QUICK BY HARRIET CLO news what’s are elevatingare everyday basics. Chiuri Grazia Valentino Piccioli Maria Pierpaolo and designers With new of their launch the collection for men women, and of of upscale wear. their to utilitarian on applied take they that detail this It’s rings. key and bands hair Rockstud metallic their bracelets, shoes, vocabulary; bags, on fast-selling now appears for example, house adornment, the to voice punkish intro a also have duced designers The revenue. in billion $1 over generated 2012, in for Mayhoola Investments by Qatari-based the acquired was which brand, 50 for year, success: Last account the seen of has unprecedented percent tenure Their sales. which accessories, and ready-to-wear women’s oversee they and couture, men’s haute handling to addition In ago. years eight helm the took house, at the designers accessories formerly were who Piccioli, and Chiuri Garavani. Valentino founder, house’s fashion the of the vision romantic perpetuate that gowns goddess velvet couture haute like offerings for perspective.” aunique from them to see tried Chiuri. says time,” for along coat—the you have pieces camel-hair a best the jacket, leather best the with trench, classic best the to do wanted “We answer their now. offering available women, and for men collection capsule season-less are Valentino, of directors peerless? something into prosaic the How to transform was also drawn to the complementary Japanese art of of art Japanese complementary the to drawn also was that you rely on let you evolve your story and identity.” identity.” and story you evolve let on your you rely that a staples style. “In simple are of the basis way,personal the items that out points who Chiuri, says that,” do can we course of later, more introduce to want we core—if our of part as line this maintain to want “We perennially. it offer to hoping are designers the and bou retailers, Valentino select at and tiques available is range full The numbered a pouch. in canvas delivered each items, women’s 12 and men’s for women. minaudière and clutch envelope an and men for folio black a sneakers, leather white of consisting accessories, also are There coat. duster a to sweaters from on everything of stitching place in seams to conjoin element functional a as stud the used designers the kintsugi, of sarto- a interpretation In rial Piccioli. says aim Rockstud,” the our with and classics these renew to metamorphosis, was concerns “Wabi-sabi ceramics, results. broken poetic mend to with used is powder gold-leaf with mixed lacquer wabi-sabi For inspiration, Piccioli and Chiuri looked to the Japanese philosophy philosophy Japanese the to looked Chiuri and Piccioli inspiration, For known are who duo, the for territory surprising is fare pragmatic Such we “So Piccioli. adds universal,” are items these because difficult, “It’s creative the Piccioli, Pierpaolo and Chiuri Grazia Maria The collection, dubbed Rockstud Untitled, comprises 12 12 comprises Untitled, Rockstud dubbed collection, The set to that faced by an architect making a kitchen stool. stool. kitchen a making architect an by faced that to comparable designer fashion a for challenge a presents pieces classic such creating But jeans. perfect the or shirt OR OR C MANY , which embraces imperfection and impermanence. The pair pair The impermanence. and imperfection embraces which , ase , an ideal outfit starts with a well-tailored white white well-tailored a with starts outfit ideal an ,

Top: A look from Valentino’s fall fall Valentino’s from Top: Alook kintsugi - , whereby whereby , - wsj. magazine

F. MARTIN RAMIN, STYLING BY ANNE CARDENAS (5); FIRSTVIEW (RUNWAY, 2) MADISON AVENUE, NEW YORK – MIAMI DESIGN DISTRICT, MIAMI – SOUTH COAST COSTA PLAZA, MESA berluti.com what’s news

hot property GARDEN STATE

HIS SUMMER, New Jersey’s Asbury Park is once again hitting a high note. Famous in the ’70s for its music scene, which helped launch TBruce Springsteen’s career, the seaside city is coming alive after years of decline. In late May, the waterfront district will welcome its first new hotel in more than half a century. Anda Andrei, who was Ian Schrager’s design director for 29 years, transformed the derelict seven-story Salvation Army building into The Asbury, a 110-room beach retreat. “We want to create a playground for a new generation,” she says. Andrei picked hotelier David Bowd, founder of Salt Hotels, to operate the property and Stonehill & Taylor Architects and Bonetti Kozerski Studio to assist in the design. Andrei and Bowd are aiming to preserve the authentic spirit of Asbury Park by hiring locally and attracting a diverse crowd with affordable options ranging from sea-view suites to hos- tel-style bunk beds. The hotel also offers a variety of public spaces, including a poolside beer garden, a lobby bar and two rooftops, featuring an outdoor theater and a lounge. IN BLOOM Clockwise from top: A A roster of live performances from local Marthe Armitage wallpaper; Jo Malone THE NEW OUAI musicians pays homage to Asbury’s rock London limited-edition bath oil and scented drawer liners; the artist. Hairstylist Jen ’n’ roll past, as does the 18-foot wall of Atkin, 36, has long vinyl records and cassettes in the lobby. encouraged her The Counter, which doubles as the hotel’s celebrity clientele— front desk, serves a grab-and-go menu of from Jessica Alba healthy essentials, but there isn’t a restau- to Kim Kardashian rant on site. “Asbury has an outstanding the inspiration West—to take hair culinary scene, and it’s our way of encour- supplements. So aging guests to explore the city,” says Bowd.

it was a natural theasburyhotel.com. —Nora Walsh FROM LEFT: COURTESY OF JO MALONE LONDON (4); F. MARTIN RAMIN; COURTESY OF THE ASBURY WA L L F L OW E R S next step for her to When a member of the Jo Malone London creative team make her own. This month, Atkin adds spotted the work of British artist and wallpaper designer three kinds Marthe Armitage in the home of former Vogue stylist Lady of vitamin-rich Isabella Cawdor, an idea for a collection was born. The capsules to her new hair-care line, Ouai fragrance brand commissioned the London-based Armitage (pronounced to create one of her signature hand-drawn, linocut designs. “way”), created for Her new pattern, called Summer Afternoon after what Henry thinning hair, oily scalps and dry James deemed “the two most beautiful words in the English locks. The language,” conjures an enchanting croquet garden party. entrepreneur has In June, the motif will grace a leafy-scented candle, nectarine also partnered with Virgil Abloh, blossom and honey bath oil, a quartet of different aromatic creative director of soaps and rose-infused drawer liners. Quietly working on the burgeoning commission for decades, Armitage has only recently gained fashion label Off-White, on a widespread acclaim for her dreamy botanical wallpapers. bespoke pillbox “Success has arrived for me late in life, and no one is more exclusively for Paris surprised than I am,” says the 86-year-old artist, whose most Fashion Week. Très chic, indeed. $24; vital source of inspiration has been nature. “My eyes are SEASCAPE A guest room at The Asbury, theouai.com a 110-room beach retreat opening in late always open to it.” $40–$105; jomalone.com. —Fiorella Valdesolo —Tara Lamont-Djite May in New Jersey’s historic Asbury Park.

42 wsj. magazine what’s news

art talk GREEK MODERN Known for a collection rich in work by artists such as Maurizio Cattelan, Paul McCarthy and Charles Ray, the Greek industrialist Dakis Joannou, 76, is an art-world fixture. To celebrate the 33rd anniversary of his DESTE Foundation for Contemporary Art, which has exhibition spaces in Athens and Hydra, Greece, he has released DESTE 33 Years: 1983–2015, an 868-page volume that’s part archive, part oral history of his influential trajectory. Starting with his university years at Cornell HAPPY FEET and Columbia, during pop art’s heyday, DESTE Velvet slippers of the kind once reveals Joannou’s origins as a collector, includ- worn by Venetian gondoliers are getting a stylish update, thanks ing the moment in the 1980s when, as a hotelier, to the new London brand Le MUSEUM QUALITY he presented performance art in the lobby of From top: Dakis Joannou’s collection Monde Beryl. Launching this his first Athens property. The book also high- month, the label was founded by includes pieces by Jeff Koons; his foundation’s new book, DESTE 33

lights his collaborations with Jeff Koons, , 2003 (ALL JEFF KOONS), PHOTOGRAPH friends and fine-jewelry experts Years: 1983–2015; a spread showing Lily Hanbury and Katya works by Matthew Ritchie (left) including the megayacht Guilty. “For me it’s not Tyumentseva. (The name refers and Andreas Slominski.

about acting as an institution,” Joannou says. OLIVE OYL to the beryl family of gemstones “It’s a personal approach.” He is also marking as well as pioneering aviator , 1991, Beryl Markham.) Handcrafted in the anniversary by supporting The Equilibrists Florence, the flats feature a (June 17–October 9), at Athens’s Benaki refined silhouette, with a slightly higher heel and pointed toe. The Museum, a show of 35 up-and-coming Greek debut collection comes in six artists, curated by a team from New York’s jewel-tone velvets, and a suede New Museum overseen by artistic director version in four colorways will follow this summer. “We wanted Massimiliano Gioni. “This is the whole spirit of

an androgynous shoe that you the foundation,” Joannou says. “It’s about BOURGEOIS BUST – JEFF AND ILONA could wear with anything from

the relationships, the exchange of ideas, being , 1988, jean shorts to couture,” says Hanbury. $395; alexeagle.co.uk; engaged in the dialogue about art.” $85; lemondeberyl.com. —Laura Stoloff deste.gr. —Carol Kino

storefront NEW ROOST BUBBLES AND JACKSON MICHAEL At PIRCH, the luxury-appliance retailer expanding to Manhattan in May, customers can shower in private, just like at home. They have 30 showerheads to choose from in the private bathing suite (at left); the floor above holds 16 working kitchens; and a simulated patio features an open-flame hearth. The fast-growing brand, founded in 2010 in San Diego, and now with nine U.S. locations, takes the concept of “try before you buy” to new extremes, allowing visitors to test top-of-the-line products—from steam ovens and restaurant-grade wine storage to Mongolian grills—right in the store. “We’re driving sales off inspired moments, not spaces in your house where you need to drop in equipment,” says CEO Jeffery Sears, echoing the company’s “Live Joyfully” tagline. The new 32,000-square-foot SoHo location, in a restored 1893 metalworks building, is the brand’s biggest yet. Bathing aside, the interactive shopping experience is a game-changer. “Everyone will view this store as a category of one,” says Sears. © FANIS VLASTARAS & REBECCA CONSTANTOPOULOU; F. MARTIN RAMIN (2); COURTESY OF PIRCH “That’s the intention.” pirch.com. —S.M. CLOCKWISE FROM TOP LEFT: F. MARTIN RAMIN; CLOCKWISE FROM LEFT:

44 wsj. magazine what’s news

RIMOWA ELECTRONIC TAG THE FIRST DIGITAL CHECK-IN SOLUTION

study in design FOR YOUR LUGGAGE. CONJURING ACT For this spring’s Costume Institute blockbuster, architect Shohei Shigematsu has transformed a wing of the Metropolitan Museum of Art into a luminous temple to fashion.

BY FRED BERNSTEIN

OT MANY ARCHITECTS get to reshape a wing of the Metropolitan Museum of Art. But Shohei Shigematsu, who runs the New York branch of Rem Koolhaas’s Rotterdam-based firm, OMA, has done precisely that. This month he converts a skylit, double-height section of the museum—the N1970s Robert Lehman Wing—into a graceful, cathedral-like setting for Manus x Machina, the Costume Institute’s spring show, opening May 5. Andrew Bolton, the head of the institute, curated the exhibition, which runs through August and focuses on how both manual and mechanical processes have shaped fashion design. To complement pieces from such designers as Hubert de MAIN MAN Givenchy, John Galliano, Hussein Chalayan and Issey Miyake, Bolton wanted to soften From top: Architect the imposing lines of the brick-and-stone Lehman galleries. And he was looking for Shohei Shigematsu a solution that would be analog in spirit—a reaction, he says, to the highly tech- at OMA’s New York office, which he directs; nological design Diller Scofidio + Renfro created for the 2014 Charles James show, his design for the co-curated by Bolton’s predecessor, Harold Koda. Bolton interviewed the principals Metropolitan Museum of five firms before choosing Shigematsu and his team. of Art’s Costume Institute spring Shigematsu’s plan—which went through several evolutions—involves a lofted cen- show features ceiling tral platform in the cavernous atrium. Overhead, projected images of dressmaking projections in the techniques recall the Sistine Chapel, says Bolton, who calls the architect’s interven- central atrium. tions “immersive and poetic.” In the surrounding passageways, tentlike structures BUILDING BLOCKS provide the context for juxtaposing the handcrafted with the machine-made. Clockwise from right: The The 42-year-old Japanese architect has taken on other museum commis- New York studio of Cai Guo- Qiang; the Faena Forum sions, but this is his highest-profile one to date. (Anna Wintour, Idris Elba, Taylor in Miami Beach; a proposal Swift and Apple’s chief design officer, Jonathan Ive, are co-chairing the opening for an addition to the gala.) Shigematsu worked on OMA’s 2001 proposal for an addition to the Whitney Whitney’s former building. Museum’s former Madison Avenue building, designed by Marcel Breuer. That plan, which called for a cantilevered structure resembling a fist, never got off the ground. But it helped establish Shigematsu’s professional reputation in the city, and in 2006, Koolhaas chose him to run OMA’s New York office. There, Shigematsu leads some 50 people on a wide range of projects, including the Marina Abramovic Institute, a planned center for performance art in Hudson, New York, and the Manhattan studio and gallery (complete with a traditional Japanese tearoom in the basement) of Cai Guo-Qiang, the Chinese artist known for working with gunpowder and fireworks. Shigematsu is also the lead designer of the Faena Forum in Miami Beach, which will

house galleries and performance spaces behind a concrete facade when it opens later (2) OMA © BEYER; BRETT OMA; © WING, LEHMAN THE IN MANUS X MACHINA EXHIBITION The future of convenient travelling: RIMOWA Electronic Tag. Check in your luggage with your smartphone this year as part of an ambitious new hotel and condo complex. wherever you are and drop it off within seconds. Find out more at:www.rimowa-electronictag.com In drafting the Met design, Shigematsu served two masters: Bolton, who was look- ing for a self-effacing backdrop, its structure hidden like the underside of a dress, and Koolhaas, whose work tends to emphasize exposed frameworks. Shigematsu, who describes some of Koolhaas’s buildings as “blocky,” cultivates a softer style, of which the Met installation is a prime example. Does Koolhaas mind? “I showed it to

him and he really liked it,” Shigematsu says. FROM TOP: GEORDIE WOOD;

46 wsj. magazine 48 news what’s can get the whole picture. picture. whole the get can The only one that matters: Tinseltown. matters: that one only The grown-ass human man. man. human grown-ass for Amiga, Crown, the of Defender Android. on games site] a lot. So not much an app but a way of life. life. of away but app an site] much not So alot. app clock world and app weather in listed Cities France Gall’s “Der Computer Nr. Computer 3.” you YouTube it so “Der Gall’s France fashioned, I like Google Maps. Google Ilike fashioned, Biggest time-wasting app time-wasting Biggest before last the and morning the in checked app First Cannot...can track listened-to Most Call me old- me Call traveling while app essential Most classic rereleasing is Cinemaware game played Most had me heart as a wee lad, and again for mobile as a as for mobile again and lad, awee as heart me had Timely, my alarm clock. alarm my Timely, bedtime into nonsense. emails: always slight stressslight autocorrect g translates real wordsreal s instagram. oogle Voice enough to of unread most used media app: app: media headache. gi trangest n mishap: soci a l- l- a soci umber V e me ae me I’m on break.com [a humor break.com on I’m THOMAS MIDDLEDITCH THOMAS the download (back for its third season). for(back third Below, its reveals what’s phone. Middleditch on his over role his on audiencesHBO’s now in is winning award-winning Silicon series Valley improv on Chicago the circuit, The actor, writer, and who skills comedian honed his not get enough of of enough get This American Life American This aren’t weird enough. weird aren’t at Android who’s reading this, keep it up. keep this, who’s reading Android at anyone So that. have it doesn’t that is Android about storing all your questions to better understand how how understand to better questions your all storing to destroy you. to destroy me can get her fighter pilot memoirs and dog beds all all beds dog and memoirs pilot fighter her get can me regular exercise and not needing an app to tell me me to app tell an needing not and exercise regular Siri is a demon woman who is is who woman ademon is Yes no? or Siri user: Siri in one spot. one in like agal It’s where Amazon. app shopping Favorite What’s cool cool What’s often most FaceTime you Person Love +Radio to Love listening not you’re if but Ooooh, I’m an NPR nerd: Radiolab nerd: NPR an I’m Ooooh, podcast Favorite Favorite fitness/workout app fitness/workout Favorite how I’m doing, thankyouverymuch. doing, I’m how , Planet Money Watching what I eat, I eat, what Watching . And it’s not NPR, it’s NPR, not . And , you just , youjust ,

Alarm settings (weekday/weekend/vacation) settings Alarm discussion between [ between discussion and myself about foyers versus solariums. Obviously, Obviously, solariums. versus foyers about myself and even in comedy. I hate her. comedy. Ihate in even TED Talks are sweet. Al Gore is back, baby! baby! back, is Gore Al sweet. are Talks TED show or Whenever the party stops. party the Whenever Call to find out! out! to find Call message voicemail Outgoing I’m a foyer man. I mean, I’m not an idiot. idiot. an not I’m Imean, man. afoyer I’m more chins. more It’s funny. so insane wife sends me. She’s funnier than I am and not not and Iam than She’s funnier me. sends wife insane tweet re-tweeted Most me gives that one The filter photo Favorite app entertainment watched/listened-to Most Usually stuff my stuff Usually week the of message text Funniest actor] T.J. Miller Valley actor]Silicon T.J. Miller People enjoyed a heated aheated enjoyed People h4 1337 for made device “ Valley. Silicon on Hendricks Richard entrepreneur plays who Middleditch, 34-year-old the says gamer acasual call “ PLAN DATA I do my gaming on a a on gaming my I do you what I’m not x0rs... the PC the x0rs... with slippery for suck as as suck for fingertips. c ases are are ases wsj. magazine

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ALESSANDRA OLANOW

®ROBERTOCOIN BLACK JADEBLACK COLLECTION |robertocoin.caom fashion & design forecast MARKET REPORT. may 2016

TOP OF THE LINE Break the habit of basic black with this season’s bold accessories in bright colors and eye-catching new shapes.

PHOTOGRAPHY BY ROBIN BROADBENT PROP STYLING BY BETIL DAGDELEN FASHION EDITOR DAVID THIELEBEULE

WHAT’S NEXT

With a lower center of gravity, wider stance and new double-wishbone CROSSOVER HIT A strap inspired by rear suspension, the 2016 Prius is making getaways even more thrilling. guitars plays a new note. An exhilarating ride is what’s next. Tod’s bag. toyota.com/prius Prototype shown with options. Production model may vary. ©2015 Toyota Motor Sales, U.S.A., Inc. wsj. magazine 51 market report

STRIPE ONE Playtime is never over with these mod bags. Clockwise from top: Dolce & Gabbana, Prada and Dolce & Gabbana.

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We’re ecstatic Wine Enthusiast has discovered JUSTIN and the hidden gem of Paso Robles, where the unique microclimate, the limestone-rich soil and our hand-harvesting practices come together to create complex wines. Wines that pair well with almost anything – including the critics. ©2016 JUSTIN Vineyards & Winery LLC. All Rights Reserved. JUSTIN and the accompanying logos are trademarks of JUSTIN Vineyards & Winery LLC. All other trademarks are the property of their respective owners. JUSTIN Vineyards & Winery, Paso Robles, CA JV15041 & Winery, owners. JUSTIN Vineyards of their respective & Winery & Winerythe property trademarks of JUSTIN Vineyards ©2016 JUSTIN Vineyards LLC. All other trademarks are LLC. All Rights Reserved. JUSTIN and the accompanying logos are

52 wsj. magazine market report

What did you see fi rst: the view, house or chaise?

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© 2016 Design Within© 2016 Reach, Inc. Shown: 1966 Collection Chaise by Richard Schultz for Knoll 54 wsj. magazine market report

STAR BRIGHT Go back to the future with mirrored shades or a graffiti-adorned purse. From left: Ralph Lauren Collection sunglasses, Chanel sunglasses and Lanvin bag.

56 wsj. magazine MIKIMOTO.COM market report

SOLE MATES This footwear stands for the love of home on a lofty platform. From left: Kenzo sandal and Louis Vuitton sandal. For details see Sources, page 123. served. Each franchise independently owned and operated. Each franchise served. ©2016 California Closet Company, Inc. All rights re Inc. ©2016 California Closet Company,

californiaclosets.com 866.488.2747 58 wsj. magazine leading the conversation the exchange. may 2016 Armée de l’air - Dassault Rafale

CHARGING FORWARD General Motors CEO Mary Barra examines a pre- production Chevy Bolt EV in the company’s battery lab in Warren, Michigan.

tracked MARY BARRA After a difficult start on the job, the CEO of GM is now setting her sights on the future.

BY CHRISTOPHER ROSS PHOTOGRAPHY BY BRIAN WIDDIS

N THE WALL of General Motors CEO Mary After hiring a former U.S. attorney to conduct an vast network of in-house contacts, aiding her quest Barra’s office, a bright space that overlooks internal probe, she fired 15 employees, instituted for greater transparency. With her technical knowl- the Detroit River, a sign reads “Keep Calm an “if you see something, say something” policy edge of a car’s inner workings, she has an engineer’s and Carry On.” It’s no wonder she keeps and restructured engineering operations to enable dogged belief in the human power to fix things. “If we Othe saying nearby. In February 2014, two weeks quicker responses to potential safety violations. can be candid and transparent, there’s nothing we after Barra assumed the top position of the third- To date, GM has paid more than $900 million in can’t solve,” she says. largest carmaker in the world, the company became penalties and nearly $600 million to settle death This year, GM introduced the 2017 Chevy Bolt EV, engulfed in a serious crisis, a massive recall due to and injury suits, though critics have argued the beating rival Tesla in the contest to engineer the first a faulty ignition switch linked to 124 deaths. In the company still hasn’t been held fully accountable. affordable electric car with a range of 200 miles. GM coming months, as the scale of the recall grew from Barra herself has not minimized the crisis, at one is also investing in the ride-sharing economy and in 800,000 to 2.6 million cars, Barra faced both rela- point telling employees, “I never want to put this self-driving vehicles—it plans to have a fleet of auton- tives of the victims and a withering congressional behind us.” omous vehicles operating on its own campus by the panel demanding to know why the company had put Raised in Waterford, Michigan, a feeder town end of the year. Another less-visible sign in Barra’s fatally dangerous vehicles on the road. for GM, Barra began working for the company at office features something Sheryl Sandberg said after As a longtime veteran of GM, Barra—who at 54 18. Her lifer status, with roles at nearly every level her husband’s death, a quote that captures both the is the first woman to run a Big 3 automaker—recog- of the business, from managing a plant to direct- losses and failures of the past and a desire to push nized the flaws in the company’s corporate culture. ing HR after the bailout crisis, has afforded her a onward: “Let’s kick the s— out of option B.” >

NEW BR 03 DESERT TYPE · 42 mm ceramic case · Bell & Ross Inc. +1.888.307.7887 · e-Boutique: www.bellross.com wsj. magazine 61 the exchange tracked

10:00 a.m. 34 Takes the Bolt EV for a spin model cars around a track meant to simulate scattered throughout Barra’s office, real-world driving conditions. including a mini version of one of her favorites, a Chevrolet Corvette C7. 10 Red Wing games attended, on average, by Barra each year. She’s a season ticket holder. 9:35 a.m. Charges up at the Alterna- tive Energy Center at GM’s Technical Campus $16.2 inWarren, Michigan, million where much of the testing Barra’s pay package in 2014—80% higher on the Bolt was done. than that of her predecessor, Dan Akerson.

12:08 p.m. No. 1 Hosts a small lunch at Joe Muer Barra’s rank on Fortune’s 2015 list of Seafood with junior and senior 11:15 a.m. Makes remarks at a council meeting for the Most Powerful Women. female employees. minority GM dealers, before taking questions. 7 seconds Zero to 60 mph acceleration time for the new Chevy Bolt EV. $500 million Amount GM invested in the ride-sharing service Lyft earlier this year. Under a 4:43 p.m. new program, Lyft drivers in Chicago who At an awards ceremony for GM’s top give 65 rides a week will be eligible for global suppliers, she discusses the free use of a GM car. company’s future and the importance of having “a tenacity to win.” 39 Number of years Barra’s father, Ray Makela, a member of the United Automobile Workers union, worked as a die maker at GM’s Pontiac factory. 10 years old Age at which Barra first fell in love with a car: a red Chevy Camaro convertible.

7:41 p.m. 2 Heads into Joe Louis Arena with her husband, dogs Tony, to watch her beloved Red Wings take on the —both Coton de Tulears—owned by Barra Winnipeg Jets (Red Wings win, 3–2). with her husband and two kids. •

62 wsj. magazine the exchange

CHAIR APPARENT A piece by Oki Sato of Nendo, part of a solo exhibition, Thin Black Lines, that debuted at London’s Saatchi Gallery in 2010.

KI SATO, THE DESIGNER behind Tokyo stu - dio Nendo, often juggles 400 projects at once, he says, at times introducing a new product every week—from a compact Oearthquake-survival kit to watches inspired by draft- ing tools to a limited-edition Häagen-Dazs ice cream cake (sold at its outpost on the Champs-Élysées), to name just a few recent additions to his massive, idio- syncratic body of work. Sato’s aesthetic flows across disciplines, in every medium imaginable, resulting in a mix of practical commissioned projects and more experimental personal pieces. “I really don’t get sur- prised,” he says. “Yesterday someone was asking me to design a screwdriver; the day before it was a ramen bowl. Anything is possible.” Sato’s versatility has helped make him—at 38, just 14 years after launching his studio —one of the world’s most prolific designers. He has worked for many of the biggest names in furniture, fashion and luxury goods (Louis Vuitton, Cappellini, Moroso, Glas Italia, Kenzo and Jil Sander among them). He’s done Camper shoes, bags for Tod’s, a Baccarat crys- tal chess set, department store interiors, private homes and even an apartment house for birds in a Japanese wildlife sanctuary. Despite the hetero- geneity of the work, Nendo possesses a consistent, unmistakable identity—a spare minimalism imbued with an innate sense of fun—which has helped it reach a broad audience in Japan. “There’s an irrev- erence, a playfulness, a humanity to his work,” says Steven Learner, founder and creative director of the Collective Design fair in New York City, which is honoring Sato this spring with an exhibition high- lighting Nendo’s international influence. creative brief Sato’s reputation abroad might soon start to rival his stature in Japan. In 2015 he won designer of the year from the Maison & Objet design fair in Paris. LESS IS MORE FUN “I think a lot of people are inspired by this idea that one day you’ll design furniture, another day fashion, Oki Sato, the prolific designer behind Japanese design studio another day retail,” says the fair’s managing direc- Nendo whose work is featured in several upcoming exhibitions, tor, Philippe Brocart. In May, Sato kicks off a full slate of international museum and gallery shows, begin- is a master of the joys of minimalism. ning with Trace at Collective Design, an exhibition of sculptural wood cabinets and steel lights—“traces of BY JAY CHESHES PHOTOGRAPHY BY TAKASHI YASUMURA products used in daily life,” as he says. In June, the Design Museum Holon outside >

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SIMPLE LIFE that he’s stripped the clutter from his life to leave Left: Oki Sato at the Nendo more room for inspiration to strike. “I have a strong offices in Tokyo, in a stone garden created by Isamu aversion to change in my private life,” he adds. “My Noguchi. Below: A 2010 daily routine is what relaxes me. Sometimes I just piece from Thin Black Lines stare at a white wall with a blank look on my face.” and Sato’s iconic Cabbage Chair, 2008. Sato lives in a sparsely appointed one-bedroom apartment not far from the office, where his closet is lined with identical white shirts and black pants. When he’s in Tokyo, he begins every day at Connel Coffee, a glass-enclosed cafe below his studio where everything from the design of the space to the look of the cups and stirrers was overseen by Nendo. For lunch, he eats noodles from a nearby restaurant every day. “The staff serve me the same soba with- out saying anything,” says Sato. On some nights, he works in his studio until the building kicks him out at around midnight. Sato, who was born in Canada and moved to Japan when he was 11, has never worked for anyone else. He launched his studio with six friends right out of grad school, after an eye-opening trip to Salone del Mobile in Milan. “I was surprised by the energy of the fair,” he says. “I didn’t know design was so open to everyone.” With Nendo—the name references clay, or children’s Play-Doh—he had the idea, radical in Japan, of design- ing in “a very free and flexible way.” For the first two years he worked out of his family’s home. In 2008 he submitted a project for the XXIst Century Man show curated by Issey Miyake to com- memorate the first anniversary of the 21_21 Design Sight museum in Tokyo. Sato’s Cabbage Chair, made from peeling rolls of pleated paper discarded from Miyake’s Pleats Please collection, quickly went viral. Among 40 Cabbage Chairs later shipped to New York for his debut show at Friedman Benda, the majority wound up in museum collections—including MoMA, the Victoria and Albert and the Cooper Hewitt. “The materials in the chair have this kind of magical life,” says Ellen Lupton, curator of contemporary design at the Cooper Hewitt. “Oki’s work hangs together around Tel Aviv will host his first museum retrospective,The a simple but friendly and happy aesthetic, clean and Space in Between, featuring more than 100 objects simple but not punishing or low calorie.” across six thematic rooms, covering the incred- Among the many new projects he unveiled last ible breadth of his work—from lamps made from year, perhaps the most personal was the new stu- Japanese farming nets to an umbrella that stands up dio space he moved into in July, with 30 designers on its own. “It’s strange to say ‘a retrospective’ for a spread across two floors in a landmark tower a few guy who’s not even 40,” says Maria Cristina Didero, having to worry about soil or water. “It’s a mix of the blocks from Tokyo’s Imperial Palace. After spending the show’s curator. “When he’s 70 we’ll need a whole very traditional and very high-tech,” he says. the past dozen years focused mostly on intimate proj- plaza to display everything he’s done.” Another Sato’s boyish manner—interviews are punctu- ects, Sato is thinking bigger these days, returning to Nendo exhibition opens in August at the Taiwan ated by frequent bouts of laughter—has also turned his architectural roots. Following a long hiatus, he’s Design Museum, followed in September by a presen- him into something of a media darling in Japan. He designing houses again. “We are thinking about how tation of new work at the Friedman Benda gallery in appears in TV ads and documentary programs and we can make houses in a different way,” he says, “very New York, 50 Manga Chairs, abstract expressions of hosts a weekly radio show on design (a favorite on- experimental, very tactile, like working on a huge Japanese animation. “They represent different char- air game: guessing the musical style of a CD based on piece of furniture.” A shopping complex in Bangkok acters or movements,” he says. “The way I place the its album artwork). He recently began consulting for and a train station near Kyoto are in the works as well. chairs hopefully generates a story.” a new drama series on the NHK TV network about a He’s also in talks with several Japanese compa- Nendo explores areas where contemporary young designer modeled on him. “The character is nies—in media, advertising and telecom—to launch design rarely ventures. Recently Sato rebranded the much more good-looking than I am,” he jokes, “and a a series of joint ventures. “So many companies,” he rugby team at his alma mater, Waseda University, little bit cooler.” says, “want to join forces with Nendo.” One of the first reimagining the uniforms, logo, slogan and fan par- Outside the office, the designer finds time for sus- of these recently launched under the name Onndo— aphernalia. He has developed a prototype for a sake tenance, sleep, his 7-year-old chihuahua-pug and meaning “heat”—a partnership with Nomura, a large cellar for storing and serving at optimal tempera- little else. He’s a self-described otaku—a geek as interior design firm. “I’m not sure what’s going to tures, and is working on a 3-D-printed paper bonsai obsessive as Japan’s manga-mad shut-ins. “This is my happen,” he says. “We just want to challenge what

© 2016 THE ISAMU NOGUCHI FOUNDATION AND GARDEN SOCIETYMUSEUM, NEW(ARS), YORK/ARTISTSNEW RIGHTSYORK (PORTRAIT); MASAYUKI HAYASHI (2) tree that can be trimmed to one’s liking without hobby, my pastime, my occupation,” he says, noting the possibilities are.” • abchome.com abc carpet & home wsj. magazine 65 the exchange © 2016 FLEXJET, LLC. FLEXJET, LOGO AND THE ELLIPTICAL WINGLET GRAPHIC AND DESIGN ARE TRADEMARKS OR REGISTERED TRADEMARKS OF FLEXJET, THE RED LABEL THE FLEXJET LOGO, RED LABEL, LLC., REGISTERED IN THE U.S. AND OTHER COUNTRIES.

on stage POWER OF YOU WON’T JUST BE THREE FLOWN, YOU’LL BE MOVED. For Rules of the Game, a top choreographer, an esteemed The future of fractional is here. More than two years in the set designer and a Grammy- making, Red Label began as an innovative idea and evolved winning musician join forces. into the industry’s newest collection of private aircraft. Each is The result: a groundbreaking appointed with a custom artisan cabin interior and flown performance piece. by a dedicated, single-aircraft crew. Red Label by Flexjet is a travel experience unlike anything else in the sky. BY JASON GAY PHOTOGRAPHY BY THOMAS GIDDINGS

OU ARE IN THE LAB,” Jonah Bokaer says conspiratorially, a wool hat tugged down near his eyes. It’s a Saturday in late winter, and YBokaer, a celebrated modern dancer and choreog- rapher, is seated at a nondescript table in an airy workspace in Long Island City, Queens. This was once a gallery home for dealer Jeffrey Deitch—artist Matthew Barney apparently does Matthew Barney things next door—and now it’s the studio of visual artist and scenic designer Daniel Arsham, Bokaer’s friend and frequent collaborator. Late-afternoon sun pours through a string of skylights. A small doc- umentary crew huddles over a shot. And at another table, taking a break and eating a quick fast-food lunch, sits Bokaer’s and Arsham’s co-conspirator: Pharrell Williams. At first glance, they seem an unlikely team: Bokaer, the eccentric dance visionary with Guggenheim and Ford Foundation grants; Arsham, the imagina- tive Miami-raised artist stretching boundaries of sculpture and design; and Williams, the Grammy- winning producer and singer perhaps best known for his ebullient anthem “Happy” and his role as a talent judge on NBC’s music reality show The Voice. But Williams, 43, and Arsham, 36, have known each other for a decade—not long ago, for an exhibition, Arsham made an astonishing replica of Williams’s childhood Casio keyboard from volcanic ash—and Arsham and Bokaer, 34, have been friends for nearly the same amount of time, having met as wunder- COOL COLLABORATORS From left: Producer and singer Pharrell Williams, scenic designer Daniel Arsham and kinds in the company of modern dance legend Merce choreographer Jonah Bokaer, who teamed up for Rules of the Game, at Arsham’s studio in Long Island City, Queens. Cunningham. Today, the three polymaths have > 866.275.2517 | FLEXJET.COM 66 wsj. magazine one track. one life. symphonic soaring, it to brought has Beck) of alt-rock star father the also forGame compositions the submitted nally origi- Williams Z. Jay to Timberlake Justin to Punk Daft from artists with work Williams’s of generation a defined has that easy sound signature It’s the recognize upbeat. to soulful, unmis- Pharrell—warm, is vibe takably the and and strings woodwinds, full with interplay with arrangement, orchestral It’san instruments. of flutter a with fills space the and button, a clicks Bokaer speakers. to linked laptops of of ripples palpable room. the the in anticipation and crew doc the which explains time, first the the for to arrangements listening recent most are Bokaer and Arsham Williams, arrived score the Today, to a.m. in-box 2:30 close Bokaer’s in overnight of pieces final The others. many among Vincent, St. and Adele with worked has who Campbell, David by Orchestra Symphony for Dallas arranged the and Williams by composed score, ing 68 gray PLANT says that hat anavy jeans, and boots Timberland jacket, green a in dressed He’s project. York New fall. to the in City on move will plan to according and 17 May on Dallas in Festival Arts & Music International called piece Game performance a trio: project a first as their on work to Queens in assembled May. in Dallas, in Game the of Rules for scenography the of elements on work Arsham and Williams COMPANY GOOD IN the exchange Bokaer clicks on another track. “We should on release track. another clicks Bokaer it—it Williams. says liked it open,” leaves “I Bokaer. asks ending?” the “You liked to listening after says Williams amazing,” “It’s pair a behind table the at seats their take trio The “A new frontier” is how Williams describes the the describes Williams how is frontier” new “A A crucial element of A crucial , which will make its debut at the SOLUNA SOLUNA the at debut its make will which , s eo rcs ad apel fn at He’s fact: (fun Campbell and tracks, demo as , which premieres premieres , which

Rules of the Game the of Rules Rules of the the of Rules Rules of the the of Rules is its sweep its is . - Calvin Klein.) Calvin by costumed was Kent, Julie MOVEment called piece dance a nering, part (One Bokaer/Arsham style. recent for eye an tion men to humor,not of sense a both and taste experimental Arsham have and Bokaer everywhere— bouncing and sky the from dropping balls ping-pong stage, the on ers danc by torn getting paper of swaths Enormous says. he done,” been stage never have the that for things doing of goal a share I and “Daniel years. for projects dance on Arsham with working been has Wilson, Robert avant-garde director acclaimed the routine. the watching says, twists. floor quick of combination a performs dancer solo a clip, another in moves; choreographed of series a watch for rehearsal in are already who dancers, his of file video a laptop, opens Brooklyn, another On Bushwick, in based is Campbell. company dance whose Bokaer, to relayed be will bass—which stand-up a add to thought a part, percus- sion a to tweak adjustments—a for suggestions album?) an ing releas about Pharrell with todisagree going is (Who disagrees. Nobody says. Williams album,” an as this oar wo s lo lntm claoao of collaborator longtime a also is who Bokaer, Williams arts,” martial Brazilian of me “Reminds minor Williams’s inputs Bokaer laptop, his On with dancer Rules - - - . Williams and Arsham Arsham and Williams . - magic of three unusual brains. brains. unusual three of magic fun. and the with anticipation humming is lab the and coming, The show is the of part that’s three that all but agree with, involved been he’s to that render” demanding and ambitious most “the be to piece the declared already has Bokaer premiere. its makes before back-and-forth more made, admiration. with says Williams cise,” so pre- “Daniel’s floor. on the shattering and dropped figures Greek the of shots slow-motion of series a ing play o hw iesz, utie bde disappear- for backdrops video above—has recording bodies begun suspended one curtained walls—there’s into ing life-size, show to appear that sculptures haunting become making also for known has who Arsham, figurine. a of Greek-like bust and arm broken the lie away far Not back. Rules on?’ ” working Iam for aproject side music the on something do to want you ‘Do say, to me for chance a was “This Arsham. says him,” for things “it’s me been creating Usually to tap Williams. idea the upon hit he when work orchestral an festival about SOLUNA the with conversations in was already Arsham characters.” the those portray and who actors characters authors, between the relationship “explores it says piece the for release motional There is still tinkering left to do,to adjustments be There tinkering is still n h tbe s mdl f rhms tgn for staging Arsham’s of model a is table the On is based on Luigi Pirandello’s Pirandello’s Luigi on based is Game the of Rules Six CharactersSix in Search of an Author —a stark set with a large video screen in the the in screen video large a with set stark —a performance, 2011. performance, Patterns Why Game the of Rules for rehearsal arecent 2013; of Williams’s childhood keyboard, replica Arsham’s top: from Clockwise MOTION IN ART ; Arsham and Bokaer’s Bokaer’s and ; Arsham • Game the of Rules wsj. magazine Rules , and a pro- a and , on stage on includ ,

-

CLOCKWISE FROM CENTER: STEEL, ASH AND CRYSTAL ERODED KEYBOARDS, 2013, STEEL FRAGMENTS, VOLCANIC ASH, CRYSTAL, SHATTERED GLASS, HYDROSTONE, PHOTOGRAPH BY JAMES LAW, COURTESY OF GALERIE PERROTIN; SYLVIA ELZAFON; WHY PATTERNS, 2011, PHOTOGRAPH BY ROBERT BENSCHOP NEXT STEPS

A sinuous staircase in the Shaker Village of Pleasant Hill, in Harrodsburg, Kentucky, dates from the 19th century but features modern lines. A Sense of Order

The Shaker Village of Pleasant Hill in Kentucky is a peaceful setting to showcase pared-down, modern looks that hark back to times gone by.

PHOTOGRAPHY BY ZOE GHERTNER STYLING BY BRIAN MOLLOY

QUIET MOMENT There’s nothing old-fashioned about simple lines. Hermès dress, Michael Kors Collection shirt (worn underneath) and Lemaire shoes. CLEAN SWEEP Lighten up with a trench-inspired sheath. Céline dress.

75 MASTERPIECE THEATER Create drama with a form-fitting blazer over summery whites. Dior blazer, top and shorts. Opposite: Salvatore Ferragamo dress and Lemaire shoes. BOARD ROOM Be poised for greatness in white layers. Above: The clapboard Meeting House, built in 1820. Opposite: Christopher Kane shirt (worn underneath), DKNY sleeveless shirt and The Row pants.

79 DRAW THE LINE Lightweight cotton looks effortless. Ralph Lauren Collection dress and Lemaire shoes. Opposite: Joseph dress and Calvin Klein Collection coat.

80 PURE POETRY A romantic blouse creates an air of relaxed ease. Opposite: Louis Vuitton top. Model, Marte Mei van Haaster at IMG Models. For details see Sources, page 123.

83 The famously bullish art dealer built an empire spanning 16 locations around the globe by never saying no to his artists’ ambitions. With an estimated $1 billion , 2013, ACRYLIC ON CANVAS, 48 X 36 IN. © DAVID HOCKNEY, PHOTO CREDIT: RICHARD SCHMIDT in annual sales, does Larry Gagosian have anything more to conquer?

BY ELISA LIPSKY-KARASZ , 2011, 28 X 22 IN., COURTESY OF 303 GALLERY, NEW YORK LARRY GAGOSIAN, 28 SEPTEMBER–3 OCTOBER LARRY GAGOSIAN LARRY © KIM GORDON, DAVID HOCKNEY, Above: Larry Gagosian, Kim Gordon, 2011. Right: A 2013 portrait of Gagosian by David Hockney.

84 AN WE QUICKEN this up?” It’s lunch- visits Twombly’s seaside house in the small town of secondary market—a term he hates—by privately time in New York and Larry Gagosian Gaeta, Italy, bringing along his entourage to have buying and selling artworks to clients. He was also an is hungry. It’s time for supper—or at lunch with Nicola del Roscio, the president of the Cy early proponent of the museum-quality show within COLOR FIELDS least aperitifs—in Europe, where he Twombly Foundation, who still lives there. a private gallery, securing sought-after loans of Landmark artwork recently did a three-week working “He arrives on his boat like an admiral,” says del historic works that are often not for sale. Such wide- from Gagosian’s career includes, from left, , 2005, ACRYLIC AND tour of France, England, Germany and Roscio. “Cy enjoyed his cheeky energy, and he always ranging exhibitions have included a show on Baroque Jasper Johns’s False Switzerland, and it’s breakfast in Los Angeles, where came to Cy with the most interesting ideas. He was master Peter Paul Rubens in 1995 and 2009’s Picasso: Start, 1959; a photograph C last week he hosted his annual pre- Mosqueteros, co-curated by Picasso biographer John by Ralph Gibson, 1975; and Bacchus, Cy Twombly, Oscars opening at his Beverly Hills Richardson, which drew 100,000 visitors to the gal- 2005, installed at gallery, followed by a bash at Mr. lery to see the artist’s less-examined late work. Gagosian’s gallery at

NURSE IN HOLLYWOOD Chow. So when food appears, served Gagosian does all of this on an unprecedented 980 Madison Avenue. , 1952-1953, OIL ON CANVAS, 68 × 48½ IN. in his office on delicate Japanese scale, with 16 locations from Hong Kong to New York’s dishware from his restaurant, Chelsea, around 200 employees, a publishing arm , 2005, ARTWORK © CY TWOMBLY FOUNDATION.

WOMAN WOMAN III Kappo Masa, four floors below, he’s that produces 40 books a year, a quarterly magazine SMASH HITS ready. “Here, I’ll do that,” he says, and an in-house newspaper—even a retail storefront Smash, Ed Ruscha, 1963 BACCHUS commandeering the water and that sells Warhol Campbell’s Soup candles and but- (left).Victory Boogie-Woogie,

, 1975; pouring it himself into a pair of terfly-print deck chairs by former Gagosian artist an unfinished work by Piet Mondrian (right), bought by S.I. ridged tumblers. Damien Hirst. (Hauser & Wirth and David Zwirner

Newhouse, Jr., in 1988 from the , 2015, ACRYLIC AND PLATINUM LEAF ON CANVAS MOUNTED ON BOARD The silver-haired, tanned galleries, both helmed by people a couple of decades collection of Burton and Emily QUADRANTS Gagosian settles himself back at younger than Gagosian, and both perceived as strong Tremaine for $11 million

in a deal arranged by , 1969, OIL ON CANVAS, 57½ × 45½ IN., © 2016 ESTATE OF PABLO PICASSO/ARTISTS his massive desk, a third of which competition, have galleries in six and three locations Gagosian. is taken up with a collection of respectively. Pace, which predated Gagosian’s first tchotchkes, including a jack-in-the- art gallery by 18 years, has 10 branches worldwide. box of George W. Bush, Russian Along with Gagosian, these galleries dominate the nesting dolls bearing the faces of global art-fair circuit.) TO TO BE TITLED (FLOWERBALL)

, 2011, OIL ON CANVAS, 106 5/16 × 86 ⅝ IN.; © RICHARD PRINCE, various international despots and a cross given to always very correct with Cy.” The gallerist and art- “Larry is in a position that no one has ever been him by the head of the Armenian Orthodox Church. ist never signed a contract in the two decades they in the art business. He’s the guy,” says billionaire These curios make a humorous counterpoint to the worked together. In Twombly’s later years, when he Hollywood mogul and longtime client and friend HEAVY METAL impressive canvases in the room: Across the expan- was ailing with cancer and needed to fly between his David Geffen, who has known Gagosian since he got Two Forged Rounds THE MOTHERS for Buster Keaton, sive office is a somber painting by Francis Bacon, native Virginia and Italy, Gagosian would send his his start 50 years ago selling posters of ocean vistas Richard Serra, 1991 FIGURE IT OUT while to his right a large Picasso leans against the Bombardier jet. Gagosian recalls, “Cy used to say, on the streets of Los Angeles. “Schlock,” Gagosian (right), at Gagosian’s Jenny Saville’s The wall. Directly behind him hangs a Cy Twombly cov- ‘The only two things I like are painting and flying on says now. “I could have been selling anything; it

former SoHo space. Mothers, 2011 (left). Nurse PORTRAIT DE L’HOMME A L’EPÉE ET A LA FLEUR The Kiss, Constantin in Hollywood, Richard ered in the artist’s lyrically looping lines. Larry’s plane.’ ” could have been belt buckles. It Brancusi, 1907 (center). Prince, 2005 (below left). “Cy really taught me a lot about my business,” The idea of a gallerist own- was just something to sell.” A 1969 Picasso (below) says Gagosian, 71, who became close with the artist ing a private plane would likely He has not lost his touch. from Gagosian’s 2009 “there are Mosqueteros show, which after meeting him in Europe in the ’80s and began have been shocking to the tra- “There are times he has sold , FORGED STEEL, 2 ELEMENTS, 64 × 89 IN. EACH, © 2016 RICHARD SERRA/ARS, NY; times he has drew 100,000 visitors. exhibiting his work in 1989. Every morning, when ditionalists of the ’50s and ’60s, me things that I wasn’t looking HIGH ART Gagosian opens his eyes in his home in the Harkness when the art world was a white- sold me for and had no desire for and Woman III, Willem , 1963, OIL ON CANVAS, 71¾ × 67¼ IN,, PHOTO: PAUL RUSCHA; RALPH GIBSON, Mansion on the Upper East Side, he sees Twombly’s glove affair and $300,000 for things i wasn’t ended up buying,” Geffen says. de Kooning, 1952–1953

(left); Gagosian convinced SMASH 2003 painting Untitled (Lexington, Virginia). He has an impressionist masterpiece looking for.” In that respect, Gagosian is a bit David Geffen to sell it in inaugurated five of his eight European galleries— seemed like the top of the mar- like his mentor, the influential –david geffen 2006. Tapestry, John Currin, including, last October, a new 18,000-square-foot ket. But in the decades since, the dealer Leo Castelli (of whom 2013 (below). To Be Titled (Flowerball), Takashi space in London’s Mayfair—with a show on the artist. trade in art has expanded expo- Willem de Kooning once said, Murakami, 2015 This month, Twombly works will appear in a group nentially: 2014 saw $68 billion in global art sales, “You could give that son of a bitch two beer cans (below right). show for the opening of the newest Gagosian Gallery, and last year, Christie’s sold $1 billion worth of art and he could sell them,” inspiring Jasper Johns to in San Francisco. Twombly died in 2011, decades in one week alone. sculpt two Ballantine beer cans in bronze, which

TWO FORGED ROUNDS FOR BUSTER KEATON after Gagosian’s father did, and Gagosian cried at Gagosian himself is estimated to clear $1 billion in Castelli promptly sold to collectors Robert and Ethel the clinic in Rome when he viewed the artist’s rangy sales annually and is among a small group of gallery Scull). He’s sometimes compared to other notable frame at rest. Every summer since, Gagosian loyally owners whose appetites are omnivorous: He works names from the past, including Paul Durand-Ruel, GENERATION NEXT , 1944, UNIVERSAL HISTORY ARCHIVE/UIG VIA GETTY IMAGES; © JENNY SAVILLE, across the contemporary and modern the dealer who presciently stockpiled impressionist A Taryn Simon piece from 2015 (below). eras, representing living artists like paintings, Sir Joseph Duveen, who brought European An Alex Israel John Currin and Mark Grotjahn while masterworks to the ballrooms of American indus- self-portrait from × 8½ IN., © 2016 ARS, PARIS NY/ADAGP, © ED RUSCHA, also dealing on behalf of the estates of trial titans, cubist champion Paul Rosenberg or the 2015 (below right).

, 2005 © DAMIEN HIRST AND SCIENCE LTD. ALL RIGHTS RESERVED, DACS, LONDON/ARS, NY 2016, PHOTO: PRUDENCE CUMING ASSOCIATES LTD; WILLEM DE KOONING, Alberto Giacometti, Richard Avedon London-based gallerist Anthony d’Offay, who closed and Helen Frankenthaler. He exhibits shop in 2001. None, however, was dealing with as VICTORY BOOGIE-WOOGIE VICTORY

, 1959, OIL ON CANVAS, 67¼ × 54 IN., PHOTO: ERICH LESSING/ART RESOURCE, NY; PABLO PICASSO, a wide range of work, from Instagram many zeroes as Gagosian.

, 1994–2014, POLYCHROMED ALUMINUM, 123 × 151 × 137 IN. © JEFF KOONS, PHOTO: TOM POWEL IMAGING; © TAKASHI MURAKAMI, images appropriated by Richard Prince Gagosian makes no apologies about pricing. It’s “a

, 1907, STONE 11 × 10 to boulders-as-sculpture by cerebral laissez-faire form of business,” he says. “I don’t think

FALSE START FALSE artist Michael Heizer. At the same the art market is for everybody. Yeah, of course, we PLAY-DOH

THE KISS time, he conducts sales on the so-called have a global gallery. But we’re like the one-tenth of PLAYTIME ISONICOTINOYL CHLORIDE the one-tenth of the one-tenth. OK? Not just who’s A 2005 Spot Painting by Damien buying but who’s really seriously engaged with art. Hirst (left). Jeff ART OF THE DEALER Above, Gagosian I don’t think that’s such a bad thing. I believe in the Koons’s Play-Doh, with collector Daniel Wolf, 1994, and left, popularizing of art. But when you get right down to 1994–2014 (right), at in 2003, with Cy Twombly, with whom he the Whitney Museum had a very close relationship. Photography it, it’s a bit of an elitist world. Not just economically JASPER JOHNS, © VAGA, NY, RIGHTS SOCIETY (ARS), NY; DIAMETER: 59 1/16 IN.; CONSTANTIN BRANCUSI, PHOTO: ROB MCKEEVER; PIET MONDRIAN, INKJET ON CANVAS, 60 X 46 IN., PHOTO: ROB MCKEEVER;THIS PAGE: © COURTESYJEAN OF PIGOZZIGAGOSIAN (2) GALLERY (RUSCHA, TWOMBLY, PICASSO, PRINCE, DE KOONING); COURTESY OF THE ARTIST AND GAGOSIAN GALLERY (SAVILLE, MURAKAMI); CREDITS CONTINUE ON NEXT SPREAD. of American Art. © 2016 THE WILLEM DE KOONING FOUNDATION/ARS, NY; RICHARD SERRA, 1991, by Jean Pigozzi. elitist—how many people read poetry?”

87 “Larry works at the top end of the market,” says “I just didn’t have that DNA, to be in an he thought. Instead, when Nosei introduced them, a largely ungentrified area full of warehouses. He pool.) He opened with a show of Jasper Johns’s land- Museum of Modern Art director Glenn Lowry. Art office. Whatever I was going to do, I was Gagosian found “this 19-year-old black guy with attracted an audience by opening with an exhibition mark Maps paintings from the ’60s, many on loan.

is today’s ultimate luxury good, and Gagosian has going to do it on my own.”) Without , 2015, white pants, kind of paint-spattered like he’d just of landmark pop art from venerable collectors Burton In 1991, Serra was looking for a space to show some found himself at a singular nexus between artists, savings, he needed a job and began been working.” The next year, the artist moved out and Emily Tremaine. (“Burt was always concerned immense forged rounds of steel that wouldn’t fit into self-made magnates who are today’s art patrons, auc- working as a parking lot manager. to Los Angeles into the “doughnut-shaped” house about balancing his portfolio,” Gagosian recalls. “He a traditional gallery. Walking in SoHo with Gagosian tion houses, major museums and even the banks that “I’ve always been somebody who Gagosian had built on Venice Beach, to prepare a would say, ‘Larry, we got too much art, we need some and architect Richard Gluckman, he spotted a park- provide him capital. “I’ve never been what they call just kind of does what’s in front of me,” show for his L.A. gallery. “A month after [Basquiat] ing lot for sale. The trio went to take a pure gallerist. I find that somewhat pretentious, says Gagosian. So when he observed moved into the house he says, ‘My girlfriend’s going a look. Serra says, “Larry liked it, honestly—I’m an art dealer,” says Gagosian. “I like to a man selling posters near the park- to come stay with us.’ And I’m thinking, Jeez, things and I said, ‘Larry, it’s just an asphalt show great artists of our time, but I also like dealing. ing lot, he decided to give it a shot are going OK now—I don’t know if I can deal with parking lot.’ He said, ‘How soon do And I think they reinforce each other.” and soon discovered he had a knack that. And I said, ‘Well, who is she? What’s her name?’ you want to do this show?’ and I Gagosian recognizes the fragile nature of this bal- for selling. “So I started buying more ‘Madonna.’ I said, ‘Madonna, what kind of name is said, ‘Six months.’ He said, ‘OK, we’ll ancing act. “I mean, nobody really needs a painting. expensive posters,” he says. “Rather PAPERWORK AND THE WILL OF CAPITAL that?’ And I’ll never forget: Basquiat says, ‘She’ll be build you a gallery.’ Just like that. It’s something you kind of create value for in a way than selling something for $15, with the biggest pop star in the world.’ ” Didn’t bat an eye.” The head-high steel cylinders went up that same that you don’t with a company. It’s an act of collec- the frame it becomes $50 and $100.” , 2013, OIL ON CANVAS, 46⅛ × 34 × 1¼ IN,, PHOTO: DOUGLAS M. Though Gagosian’s direct approach irked some of tive faith what an object is worth,” says Gagosian. Eventually he also started a frame his entrenched industry peers, it suited his genera- year in a 2,400-square-foot column- “Maintaining that value system is part of what a shop (where Sonic Youth rocker Kim tion of American artists—many of whom were also free space that was dubbed “Go-Go TAPESTRY dealer does, not just making a transaction but mak- Gordon worked, writing in her 2015 memoir that he was always careful not to overreach his bounds. , FROM THE SERIES from California—just fine. “We immediately hit it off. SoHo.” This month, the artist will ing sure that important art feels important.” was a “mean” and “erratic” boss), and then rented “You never circumvented the Godfather,” he says, He could have been a kid I went to school with,” says take over Gagosian’s two Chelsea “I think out of jealousy, people used to really hope out a former Hungarian restaurant in Westwood describing their relationship as “one hand washing Richard Serra, who did his first Los Angeles show locations for a show of new sculp- Village in 1976. In this narrow space the other.” He adds, “I did things for Leo that were in 1983 with Gagosian. “Nothing stiff about Larry,” tures. Serra says, “He’s never told he opened Prints on Broxton, sell- very useful for him, and he opened a lot of doors for says Ed Ruscha, whose first show with Gagosian, of me no, ever. Everything I’ve ever ing more upscale pieces to fledgling me,” including introducing him to some of his most paintings from the ’60s, was mounted in 1993 with wanted him to do, he’s done.” collectors like Geffen, whom he met renowned artists. In relatively short order Gagosian permission from Castelli. “He’s got a very good sense “You might call it risk-taking, through his former William Morris began showing Castelli artists like Frank Stella at of humor and a light way of looking at things, and yet cash.’ And I said, ‘I’m your guy.’ ”) Gagosian followed you might call it river gambler,” adds Serra. “But boss Stan Kamen. his new gallery, which opened on Almont Drive in he’s very realistic at the same time. He has immedi- that up with a de Kooning show of work from the Larry doesn’t frighten easily. If he sees an opening, One day, while tearing through 1981 and moved to Robertson Boulevard in 1982. He ate opinions about things.” late ’50s and ’60s that included loans of significant he takes it.” art magazines, he spotted a graphic also became a de facto West Coast sales franchise Gagosian’s aggressive style—and his Armani works coaxed from museums or collectors, such as black-and-white image by photogra- for New York galleries including Mary Boone and suits—also fit in with the corporate leaders and Interchange, then owned by Edgar J. Kaufmann, Jr. VERY MORNING, Gagosian starts his day pher Ralph Gibson. Gagosian looked Metro Pictures, exhibiting artists like Eric Fischl and superpower agents who represented a new guard of “He had to literally put it on top of his elevator to get by watching CNBC and CNN. “There are up Gibson’s number in New York and Cindy Sherman. collectors. “The art world was kind of in this inertia. it out of his apartment, but he agreed to do it,” says days you don’t want to call people,” he cold-called to see if he would do a show Castelli also introduced him to collectors. One day, Gagosian. (The painting, currently on says. At around 11 a.m. he walks the one in L.A. “It was very naive. Ninety-nine on a SoHo stroll, Gagosian says, Castelli greeted a view at the Art Institute of Chicago, block to his Madison Avenue offices. He percent of the people you got on the “completely nondescript gentleman.” When Gagosian recently sold for $300 million.) works the phone, which he calls “the phone like that would have blown me asked who he was, Castelli replied: “Oh, that was Si “It was not the kind of show that Ehorn,” with a Hunsecker-like ferocity, dispensing with off,” he says. “Luckily he was a nice Newhouse. He can buy anything he wants.” you would normally see in a commer- niceties like “How are you?” and he communicates by guy.” Gagosian had only been to New “I’ll never forget those words,” says Gagosian. cial gallery,” says Sir Nicholas Serota, text at all hours of the day with clients and friends York once, as a teenager, but he flew “So I dragged Leo back across the street, and Si gave the director of the Tate museums and like Louis Vuitton executive vice president Delphine that he would stumble,” says Dorothy Lichtenstein, out to meet Gibson, who in turn introduced him to his me his phone number. I called him up, probably the galleries, who was then at London’s Arnault, who says, “He’s not only interested in art and the widow of the artist Roy Lichtenstein, whose work gallerist, Leo Castelli, who was tickled by the upstart. next day if not sooner.” (He became Newhouse’s go-to nonprofit Whitechapel Gallery. “It artists, he’s very aware of everything that’s happen- Gagosian began exhibiting in the mid-’80s. “And then “He and I hit it off,” says Gagosian, who staged the dealer, arranging the 1985 sale of Mondrian’s Victory immediately marked him out as some- ing in terms of business.” He doesn’t use a computer, at a certain point, people started saying, ‘I hope he Gibson show and was soon regularly buying works Boogie-Woogie and setting an auction record for a one who was going to want to deal with and his two assistants handle all emails for him. , 2015, ACRYLIC AND BONDO ON FIBERGLASS, 96 × 84 × 4 IN., PHOTO: JEFF MCLANE, COURTESY OF THE ARTIST AND GAGOSIAN GALLERY never stumbles.’ ” from Castelli and others to resell in Los Angeles. work by a living artist in 1988 when Gagosian won quality and at an international level.” “What do I need a computer for? You just get bogged Despite their very different backgrounds (the Jasper Johns’s False Start for $17 million on behalf of With clients like Newhouse, Geffen, down—you stare at a computer all day, and next thing DON’T THINK THAT anybody in the ’80s would urbane Castelli was from Trieste, Italy) and the fact the publishing mogul.) Estée Lauder scions Ronald and you know you are buying a cashmere hoodie,” he says. have predicted that Larry would be today that Castelli was surrounded by a circle of more likely Soon Gagosian had a loft in New York across from Leonard Lauder, printing heir Peter “I know he will call at 3:01 p.m. every day,” says the most important dealer in the world,” contenders for the throne, including Mary Boone, Castelli’s space at 420 West Broadway, which he Brant and British advertising mogul Stefan Ratibor, the co-director of Gagosian’s London says Geffen. André Emmerich and Jeffrey Deitch, “I think Leo purchased with $10,000 and a Brice Marden paint- Charles Saatchi, he was becoming well operation. And if he can’t find you, “he’ll call every

“It was completely a fluke,” says Gagosian just liked him,” Dorothy Lichtenstein says. Gagosian ing. Until the openings got too raucous, he used SELF-PORTRAIT (STILL LIFE) established. The problem was signing number for you and leave messages,” says Sam Keller, of how he got started in the business. He grew it as a venue for pop-up shows He brought a sense of liquidity and the possibility of artists: Gagosian had worked with Serra and multi- former Art Basel director and current director of Iup in Los Angeles, the only son of an Armenian fam- with dealer Annina Nosei. It was acquisition,” says Jeff Koons. “There was no longer media conceptual artist Chris Swiss museum Fondation Beyeler. ily. His mother, Ann Louise, made a living acting and at her downtown gallery that he this sense among collectors that if someone else had Burden in California, but he Information is Gagosian’s cur- AGREEMENT ESTABLISHING THE INTERNATIONAL ISLAMIC TRADE FINANCE CORPORATION AL-BAYAN PALACE, KUWAIT CITY, KUWAIT, MAY 30, 2006 singing, while his father, Ara, was an accountant. first encountered Jean-Michel a piece, ‘I missed the boat.’ Larry brought the realiza- needed new names in New York, “larry doesn’t rency. “Let’s say I say, ‘Oh, I have His actor uncle, who played a pirate in the 1960 ver- Basquiat’s explosively expression- tion that, hey, these things can move. I think he did particularly when he moved to frighten a friend who has a Warhol,’ ” says sion of Peter Pan, for a time lived in the family’s small ist, graffiti-like paintings. “My that almost single-handedly.” the city full-time after closing his e asily. if he Pigozzi. “He would call me 50 downtown apartment along with Gagosian’s sister hair stood up. I was blown away,” “At the beginning, everybody said, ‘Oh, he is a hus- gallery on Robertson Boulevard. times a day, saying, ‘Where’s this and grandmother. After his father became a stock- he remembers. Gagosian bought tler,’ which he is, and he still is a hustler now,” adds In 1989, he took over his current sees an Warhol? Why haven’t you sent me broker, the family upgraded to Van Nuys, in the San three on the spot, for $3,000 each, automotive heir Jean Pigozzi, a longtime friend. “But space at 980 Madison Avenue opening, he the picture? I can’t believe you’re Fernando Valley. In high school, Gagosian swam com- even though he had never heard of he learned very, very fast.” across from the Carlyle Hotel, takes it.” not doing that.’ He’s relentless petitively; he continued to swim and play water polo the artist. “Sounds like some old By 1985, Gagosian had opened his own space in where his gallery and offices ini- when he wants something, com- –richard serra at UCLA until he quit the team his sophomore year. French guy, Jean-Michel Basquiat,” New York, in a former truck dock in Chelsea, then tially occupied the penthouse pletely relentless.” After earning a B.A. in English literature at 24 (he and grew to encompass over “He has the most astonish- never studied art history), he kicked around doing odd 54,000 square feet on the top three floors, accessible ing visual memory,” says Serota. “He can remember jobs in L.A. before getting hired at William Morris ON THE TOWN Clockwise from top: INNER CIRCLE From top: Gagosian in 2005, unwinding by their own elevator. (He also moved into an Upper particular works hanging on particular walls in exhi- In Versailles with Takashi Murakami, with two of his artists, Richard Serra (left) and Jeff Agency, from which he was fired after a year. (“It was 2010; in Antibes, 1991; with Charles Koons; with his girlfriend, Chrissie Erpf, and collector East Side carriage house he filled with art, includ- bitions or in a private collection or appearing at CONTINUED FROM PREVIOUS SPREAD: © TARYN SIMON, ARCHIVAL INKJET PRINT IN MAHOGANY FRAMES WITH TEXT IN WINDOWED COMPARTMENT ON ARCHIVAL HERBARIUM PAPER, 85 × 73¼ × 2¾ IN., COURTESY OF GAGOSIAN GALLERY; © JOHN CURRIN, THIS SPREAD: © JEAN PIGOZZI (5) like a knife fight in a phone booth,” says Gagosian now. Saatchi (center) and Leo Castelli, 1991. PARKER STUDIO, COURTESY OF GAGOSIAN GALLERY; © ALEX ISRAEL, Steve Martin in 2013. ing a Frank Stella painting installed near the indoor auction. If you talk to him about a work, more often

88 than not, he’ll know where it is, who owns it and when new collectors to commit $2 million or more each to that they’re in context with. If they want to stay in he last saw it.” mobilize the production of the sculptures. the little gallery in the East Village, I’ve got nothing For collector Eli Broad, Gagosian once tracked “At a certain point, I realized that Larry was very against the East Village. I started out with zero. If a Susan Rothenberg horse painting to the dining connected—he was informing a lot of people about that’s what they want, fine, it’s a free world.” room wall of St. Louis art dealer Ronnie Greenberg. the work,” remembers Koons, who began working Currin is one of several artists who left their “It wasn’t for sale,” Broad says, “but Gagosian said, with Gagosian regularly in 2001. “Celebration was a former galleries—in his case, Andrea Rosen—for ‘C’mon, you’re a dealer,’ and convinced him to send little bit in deadlock. We just really needed someone Gagosian. He made the move in 2003, with prices me a photo for approval.” Broad, who recently opened to stand behind the work who had the financial for new paintings increasing from a reported a museum in L.A., estimates that he and his wife, means, so Larry did that, and I was able to proceed.” $400,000 to around $1 million at auction. His first Edythe, have acquired about 40 percent of their “I don’t think there’s anybody in history who’s encounter with Gagosian was at a late-night party nearly 2,000-piece collection from Gagosian. sold more unfinished artworks,” says art collector in a Lower East Side bar following a show for Cecily One of Gagosian’s particular talents is conjuring Bill Bell of Gagosian. “It’s almost unimaginable.” Brown, another artist who had joined Gagosian complex, chesslike transactions that offer elements Bell was one of those who acquired sculptures from from Deitch Projects. In 2004, edgy L.A.-based art- more enticing than cash. “He’s like a block trader,” Celebration, including Play-Doh, which took 20 years ist Mike Kelley attracted attention by leaving Metro says collector and Blackstone chairman, CEO and to complete while the complex Pictures for Gagosian, who could co-founder Stephen Schwarzman, referring to the fabrication was resolved. The both support his production financial practice of making high-risk, fast-moving sculpture, more than 10 feet high “you can’t do costs and offer larger spaces for private deals on large quantities of shares. “He’s in and made of 27 pieces of painted a crappy show more ambitious pieces. More the matching business.” When Schwarzman, for aluminum, finally made its debut with larry. it’s recent shifts include painter example, was seeking a rare Twombly “blackboard” as the star of the Koons retro- Joe Bradley, a painter who had painting for his apartment, “Larry found someone spective at New York’s Whitney very, very, worked with Gavin Brown and in Korea who owned a painting and found another Museum in 2015. “It’s a leap of very public.” just mounted his first Gagosian painting that was larger and more important,” faith. I looked at a computer –john currin show last month. (In a reversal, Schwarzman says. “So they sold their painting and image of what this was going to Gagosian had turned down a bought another from Larry. That’s a classic Larry be. And then it still took 10 or 15 younger Richard Prince before Gagosian execution—where everyone’s happy and more years after committing, where you’re paying finally winning him from Barbara Gladstone in 2007.) Larry makes tons of money.” (While private-sales and you’re putting down money,” says Bell, who is “There’s this thing that Gagosian goes out and we numbers are not reported, a Twombly blackboard still anticipating delivery of a Celebration sculpture poach and we steal,” says Gagosian. “I’m certainly sold last year at auction for a record $70.5 million.) called Party Hat and two other more recent Koons capable of being opportunistic, but it almost always “Larry has found a balance appealing to his artists in pieces. Gagosian, Koons says, “kept people patient is a result of a level of dissatisfaction or somebody terms of pricing and exposure, but also keeping his that if Jeff is working on it, he is working on it.” wanting to make a change. That’s usually what ini- collecting clients happy,” says billionaire business- Gagosian can be pugnacious, especially on behalf tiates it. Just calling someone and saying, ‘Change man and art collector Leon Black. “There are never of his artists. “One day I saw him sharply rebuking dealers,’ I don’t do that.” any bargains, but it’s all on a reasonable basis.” a curator for presenting the work of one of his art- By establishing so many galleries worldwide, how- Finding buyers for pieces that are not officially for ists in a space that he thought was not optimal,” says ever, Gagosian has slightly shifted the terms of the sale is a signature Gagosian move. It was just such a Christie’s auction house owner François Pinault, a whole debate. In L.A., Paris and Rome, he is free to maneuver that convinced Geffen to part with a prized longtime client and friend. exhibit portraits by Cindy Sherman, who has worked Willem de Kooning, Woman III, in 2006. “He called Artists who join Gagosian often find themselves with Metro Pictures in New York since 1980. In me up and said, ‘Is there any price at which you would bracing for the big time. Working with the gal- London, he has shown tapestries by Gerhard Richter, consider selling it?’ ” says Geffen. “And I said, ‘Well, lery, says painter John Currin, “is such a huge stage who has a long relationship with New York–based I suppose if you got me $140 million, I would sell for what I think of as my kind of intimate art. It’s Marian Goodman. In Hong Kong, he did a joint show it.’ And it was sold that day,” to hedge funder Steve not CBGB; you’re playing an arena—it’s like being with painter Jonas Wood and his wife, ceramicist Cohen. At the time, the final price of $137.5 million Kanye.” He later adds, “You can’t do a crappy show Shio Kusaka, who typically work in the U.S. with deal- was a record. (According to Cohen, the arrangement with Larry. This is not an undercover situation—it’s ers David Kordansky and Anton Kern, respectively. In was also meant to include Jasper Johns’s Target very, very, very public.” any case, in recent years, there has been a tendency With Plaster Casts. He flew out to L.A. with Gagosian The huge square-footage of most of Gagosian’s away from “monogamy” in gallery relationships, as to finalize arrangements. “I had a handshake deal galleries is part of that equation, allowing and often Urs Fischer puts it. “You are not on a sports team,” with Geffen,” Cohen says, “but he reneged on it.” encouraging larger artworks. “Some of the spaces says the Swiss artist, who works with Gagosian inter- Geffen says the Johns painting was never for sale. are heroic,” says Ruscha. “They’re kind of intimidat- nationally as well as with Gavin Brown, his original Gagosian declined to comment.) It took six years ing to any artist—they want to say, ‘Uh-oh, I can’t just New York dealer. “I like the exposure” at Gagosian, for the auction houses to catch up with Gagosian: put a bunch of postage stamps on the wall. I’ve got to Fischer adds, “but for some things you don’t want the In 2013, a 1969 triptych by Francis Bacon sold for a come forth here.’ ” exposure. Why should one exclude the other?” (Koons then-record $142.4 million. Picasso’s $179 million The British painter Jenny Saville, for one, relishes and Serra similarly downplay their recent shows with Women of Algiers (Version O) is the current all-time the opportunity. “You go, Oh, my God, I can make a Gagosian rival David Zwirner, with Koons pointing auction high. triptych, I can do a five-meter-long pig. You raise your out that he maintained a relationship with the late Gagosian’s energy is part of what has attracted bar, you work really hard, and then you put it on and dealer Ileana Sonnabend and Serra saying that it artists to the gallery, including Koons. In the late he sells it,” says Saville, who has been with Gagosian was due to structural considerations—the pylons in ’90s, the famously perfectionist artist was facing since 1999. “I always wanted to make big paintings Zwirner’s gallery can support heavier sculptures.) , 1985 © ESTATE OF JEAN-MICHEL BASQUIAT. LICENSED BY ARTESTAR, NY ballooning expenses for his Celebration series of but didn’t have the finances to do so. Larry never says When Gagosian contemplates a relationship with

LARRY sculptures, which had expanded in scope and con- things like, ‘I couldn’t sell it, it’s too big.’ ” a new artist, he considers several factors. “It’s about founded the dealer trio of d’Offay, Max Hessler and “There’s a certain mentality that small is beauti- the quality of the work, and it’s about, also, can you Jeffrey Deitch. Gagosian invested money and rallied ful,” says Gagosian. “I get the criticism, but I don’t sell it?” he says. “Because believe me, that’s what buy it. So an artist comes to the gallery because they artists want: They want their work to sell. It’s a big feel that they’re going to get well-represented, they responsibility, because you’re their main source of WILD AT HEART A Jean-Michel Basquiat portrait of like the space, they like the energy, they like the

JEAN-MICHEL BASQUIAT, Gagosian, Larry, from 1985. people that we work with, they like the other artists Continued on page 122

91 Shine Bright

When artful finishes meet layers of color, the results are crystal clear: Contemporary glass furnishings bring a brilliant new dimension to any interior.

IN LIVING COLOR Geometric forms in vivid hues earn high marks. Isom Square table, in glass, by Sebastian Scherer. Opposite: Seeing Glass Big Round mirror, in glass, by BY SARAH MEDFORD Sabine Marcelis and PHOTOGRAPHY BY NICHOLAS ALAN COPE PROP STYLING BY ADRIAN CRABBS Brit van Nerven. LIGHT BOX Translucent gradations of color create an eye- catching effect. Deep Sea blue square coffee table, in glass, by Nendo, part of a three-piece collection for Glas Italia.

REFLECTING POOLS Liquid curves and sky- blue surfaces equal a winning combination. Seeing Glass Offround mirrors, in glass, by Sabine Marcelis 94 and Brit van Nerven. TOTAL ECLIPSE Three luminous layers effortlessly add up. LT04 Colour floor light, in laminated glass and powder-coated steel, by Daniel Rybakken and Andreas Engesvik for E15.

CLEAR CUT Thinly veiled facets in pretty pastels possess a powerful appeal. Gem tray in glass with brass feet, by Debra Folz. For details see Sources, page 123. 97 A MARRIAGE OF MINDS With the release of her relationship comedy Maggie’s Plan, writer-director Rebecca Miller reunites with the cast (Julianne Moore, Greta Gerwig, Ethan Hawke) to discuss onscreen love triangles and real-life romances.

BY ANDREW GOLDMAN PHOTOGRAPHY BY MACIEK KOBIELSKI STYLING BY KAREN KAISER

FANTASTIC FOUR From left: Julianne Moore, Ethan Hawke, writer-director Rebecca Miller and Greta Gerwig, photographed in New York City. 99 Andrew Goldman: Early in the film, Ethan’s char - GG: There’s someone who did do it? I just figured it that is largely fueled by a real, deep interest in each expectations that they’re supposed to have every- acter shares an expression—that every relationship was something you made up! other’s minds, and that that can be erotic and that thing. You’re supposed to be in great shape; you’re has a gardener and a rose, that one person’s primary RM: Yeah. can be exciting and something that can hold people supposed to have a great career; you’d better be a role is to support the other person. Is this true in your GG: [seemingly scandalized] Oh…. together. And certainly in painting a portrait of a great parent. I hear all this, and I see people breaking “the wand of own experiences? EH: Well, look, if people are doing like labia tucks real marriage—the pitfalls and the beauties of it—I up because they just have such extremely high expec- Julianne Moore: I don’t think so. I think you have by the dozens, you can be sure that somebody’s tuck- suppose I know that more from being married. tations for every aspect of their life. That makes life power is to alternate. ing their scrotum. AG: One of the ideas this film explores is whether really hard. It doesn’t allow for much compromise always moving Rebecca Miller: In a marriage that works, there is RM: Labia tucks? Why do they do that? Well, OK. divorce might be overrated, especially when kids are or forgiveness. Like what you said—“you’re no prize in a relation- some fluctuation. It’s not necessarily every other day. We’ll talk about that later. involved. You leave someone but then become essen- either”—which I think is so funny. There’s a funda- ship. i love It can be every 10 years, it can be every five years. But AG: Perhaps the funniest scene in the film involves tially like an Uber service for the kids, shuttling them mental humility to that, whereas I’ve had a couple of then there are some cases like that famous Austrian Julianne’s character delivering her review of Ethan’s back and forth between families. friends who are breaking up, and their problems with writing scenes composer [Georg Friedrich Haas] I was reading that novel by burning a copy and depositing the baggie RM: One of the reasons I did this film was a con - each other are so minute. where [it’s] story about. Anyway, he advertised in OkCupid say- of ashes in front of him. Since the book was bad, this versation [Julianne and I] had about that. AG: Like what? moving back ing, I’m a man at the top of my field and I’m looking was in a way an act of love. Have any of you personally JM: Yes, years and years ago, I told Rebecca that EH: Oh, just what the other one doesn’t do for the and forth.” for a woman who is basically a bottom. experienced acts of love that involved telling you that I knew this woman who had gotten divorced, and other one. They are both amazing people, and I look JM: Oh, my God, oh, my God! I know. That something you’d created stunk? because of the kids she was still involved with her at these two friends and I think, I wish you could see —rebecca miller was fascinating! EH: My wife does it to me all the time. She’s incred- ex-husband. Then her current husband also had chil- each other for what you are and not the tiny part of [The story doesn’t ring a bell for either Hawke ibly honest with me, and it’s so wonderful when she dren, so it was very complicated. And she said to me, the puzzle you’re not. or myself.] likes something, because I really know it’s the truth. “If I were to do it all over again, I don’t know that I GG: My parents have been married for over 40 Greta Gerwig: Every woman I know has read She has decided to fight the long game, and it’s not would get the divorce.” Because she still loved her years. My mom always had this joke, which was, this story, and no man I know has read it. It’s helpful to tell me something is good when it is not, ex-husband. “Oh, we could never afford to get divorced.” And so interesting. because I will come to find out eventually. In 10 years RM: She ended up spending so much time plan- they’re still together. A year ago, my mother said, RM: He gets this beautiful black woman to be of being with me, she finds ways that can really help ning ski vacations. “The main thing I regret is that I spent time being submissive. But he explained in the story: “It’s not me be better. That’s what I think is loving. After the JM: Ski vacations with the kids. It’s that question angry at your father for not fixing things around AGGIE, PLAYED BY Greta Gerwig, wants a baby but isn’t so sure that she so much a sexual thing; it’s just that I wanted some- first preview of a play she said to me, “You have got about if another relationship is going to be that much the house. He could never fix things around the wants a man. John (Ethan Hawke) yearns for someone to appreciate his gifts body to be around all the time while I work.” And so to change that costume.” And I got really upset that different than the one that you’ve invested all this house. Why did I ever think that that was a thing he as a novelist. John’s high-strung rock star of an academic wife, Georgette he wanted an artist’s wife, and the way he got her was night. It’s not what I wanted to hear. I said, “You mean time in. Sometimes it is. There are relationships that would do, and why did I ever get mad when he didn’t (Julianne Moore), wants a partner perpetually available to talk her out of by advertising for a masochist! to say I worked this hard, and you’re gonna talk to me don’t deserve to survive. But then sometimes, maybe do it?” I think about that all the time. I hope I can her tree, where she often finds herself. In Maggie’s Plan, a film festival dar- AG: Is this a familiar trope, the masochistic about that costume?” And she said, “Believe me, no you did have an affair, but there’s this idea that internalize that. ling in theaters in May, a husband is lost and found, a baby is born, beds are artist’s wife? one is thinking about anything else.” maybe the relationship should have survived and you EH: But for me, a key difference between getting Mswapped and an unlikely plot is hatched between female rivals. The film tackles the big issues RM: Well, I made a whole movie about the art - GG: At least in our house, with Noah, it never shouldn’t have left. married at 26 and getting married at 35 was how that arise day to day in marriages between artists, who have to not only negotiate carpool duty ist’s wife, The Private Lives of Pippa Lee. So it is. I really happens where you present something you RM: And it was so funny and coincidental that she much better I knew myself. There were versions of but also maneuver around each other’s fragile egos. think that traditionally there would be a gardener feel is finished, and they tell you it’s s—. Because had had that conversation, and then a year goes by myself I wanted to believe in, you know? It’s not that The material proves especially compelling knowing that it came from the mind of Rebecca and a rose, and it would be the woman being the both Noah and I, as well as every artist I’ve ever met, and I get this book which has these chapters about they were dishonest or something like that. I just Miller, who is a writer, filmmaker and, since 2014, known to the queen as Lady Day-Lewis (her gardener more. But I used to have a Chilean phi- start from a place of constantly seeking out criticism, this [partner] switch, and I thought, There’s some- wanted to be the kind of guy who would fix every- husband, Daniel, was knighted for his work as a film actor). Though the couple is intensely losopher boyfriend who used to say, “The phallus is always asking, “Does this work? Does that work? Is thing so true about that. thing. So I would present myself as the man who private, Miller has long provided hints that spending two decades married to one of the most always moving.” this better? Do you like this? Is this lame?” But once JM: Rebecca and I were talking about it because could do that. The second time around you go, “Hey, immersive actors in the world can be both fulfilling and trying. “All his characters are wonder- GG: [covers her eyes in mock horror] Oh, my the thing is done, it’s all love and support, because we’re both in these very long relationships and all the by the way—” ful to live with, in their own way,” she once told a Daily Mail reporter, while adding, “My favorite God. That is like a nightmare. The phallus is there is nothing to do once it’s done. ups and downs and whatever. She said, “Sometimes, GG: “I don’t fix s—.” was Abe—because he filmed away from home and I didn’t have to live with him.” always moving. RM: I actually burned a book once in college. I take no matter what’s happening, you look at him and you EH: “Yeah, I’m terrible. Here’s what I’m good at— There is also no shortage of source material in the romantic biographies of her cast. After RM: What he meant was that the wand of power so much from real life. I was very mad at a young man just have to go, ‘Well, that’s my guy.’ ” acting, right? I’m not good at building a fence in the meeting Noah Baumbach when he cast her opposite Ben Stiller in Greenberg, Gerwig eventually is always moving in a relationship. If you allow the who had gone back to his boring girlfriend. I gave him RM: That’s my guy. backyard.” Then your partner has a realistic expecta- became the muse, partner and collaborator of the director, who’d been married to and fathered phallus to be de-sexed and represent just the wand of a book he’d lent me in a plastic baggie, and I said, “I AG: My sister-in-law related this story of her tion of who you are because you know yourself better. a child with actress Jennifer Jason Leigh. Gerwig and Baumbach co-wrote his follow-up film, power then it can be handed back and forth. I thought want to return your book.” friend, who every morning would look in the mirror RM: When I was researching Jacob’s Folly, which Frances Ha, in 2012. Hawke was half of his own Hollywood power couple, with Uma Thurman, about that because I love writing scenes where the GG: Good girl. and say, “Well, you’re no prize either.” is this novel about Jews in 18th-century France and before he fell in love with and married the couple’s former nanny, Ryan Shawhughes. And before phallus is moving back and forth. RM: It was about 300 pages long. And I just took it RM: That’s so cute. Well, one of the central ques- Far Rockaway, I read all these Jewish self-help books, marrying director Bart Freundlich (with whom she has two children), in 2003, Moore had been Ethan Hawke: [lifting his wine to Moore] Here’s and I burnt it in my little dorm room. I returned it to tions in the film, I guess, is when the rule book has and there was this one rabbi who wrote that long ago married for nearly a decade to actor John Gould Rubin. to the phallus moving. him in a baggie. been thrown out, when women can have babies by if Aunt Esther threw crockery on Fridays you would For Miller (the daughter of playwright Arthur Miller and photographer Inge Morath), who JM: Cheers. AG: How did he react? ourselves, and we don’t necessarily need to eco- think, That’s just Aunt Esther, and she throws crock- has also written two novels, writing and directing a relationship comedy has provided a wel- AG: While we’re in the general vicinity, you wrote RM: He couldn’t help laughing. It was funny. But nomically or biologically pair up, then pairing up is ery around on Fridays. Now you’d send her to therapy come and fun departure from her previous, more serious films like 2005’sThe Ballad of Jack and a line in the film that suggested that a famous actor anyway, that was the end of our relationship. So I completely different. In a way there is much more and try to change her. Instead of just embracing Rose, which starred her husband as a single dad with a tragically bad ticker. When her friend with a distended scrotum had a ball tuck. Who’s admit I saved that one from college [for the film]. romantic weight on it when it is a choice. It’s beauti- our eccentricities, we try to homogenize each other Karen Rinaldi showed Miller her unfinished novel, The End of Men, which featured a woman the actor? AG: It’s hard to watch Maggie’s Plan and not won- ful but makes things much more complicated, and I to a point that, of course, you can’t accept each trying to unite her husband with his ex, Miller began writing a script that tackled the humorous RM: I’m not telling you! der how much you were drawing from your own think much more of a tinderbox. other. It’s so much better to just accept each other. • side of flawed marriages. Over a bottle of Spanish red that Hawke happily uncorked and poured AG: So somebody actually did this? marriage to Daniel Day-Lewis when you wrote it. EH: I think for young people growing up, it Condensed and edited from Andrew Goldman’s inter- for his director and co-stars, the Maggie’s Plan team dove into a deep, and deeply entertaining, RM: Oh, yeah. He said so on a talk show. RM: I don’t think you can avoid your own life. really does raise expectations. I sometimes see the view with Rebecca Miller, Julianne Moore, Ethan

conversation about the politics of love. EH: Yeah, you can google that, man. SET DESIGN, WHITNEY HELLESEN; GROOMING, LISA-RAQUEL (HAWKE), LORAINEYURI MORIABELES-FOSHION (MOORE). (MILLER); FASHION CREDITS:HAIR, FROM PETERLEFT: BUTLERALTUZARRA BOOTS.(GERWIG), OSCARCÉLINE SWEATER, BLANDI JACKET, LOEWELOEWE(MOORE); SKIRT, PANTS MAKEUP,AQUAZZURAAND ROBIN HER SHOES FREDRIKSZOWN ANDSHIRT HER(GERWIG), ANDOWN SHOES. RING.BOTTEGA JEFFREY VENETA RUDESDRESS JACKET, ANDFRAME MICHAEL RAGT-SHIRT, & KORS BONECOLLECTION JEANSSANDALS. AND FOR HIS DETAILS OWN SEE SOURCES, PAGE 123. Certainly I recognize the whole idea of a long passion generation younger than me and they have these Hawke and Greta Gerwig.

100 101 STRONG SUITS Step into a story about masculine- inspired ensembles that are tailor-made for an independent spirit.

PHOTOGRAPHY BY ANNEMARIEKE VAN DRIMMELEN STYLING BY ANASTASIA BARBIERI

VESTED INTEREST Borrow from the boys for a striking look. Givenchy by Riccardo Tisci jacket and pants, Saint Laurent by Hedi Slimane shirt, Dary’s earrings, Charvet pocket square, Ana Khouri bracelet, Cartier Tank Française watch, Tom Wood ring and Dolce & Gabbana shoes. Opposite: Trussardi blazer, vest and pants, Charvet blouse, tie and pocket square, C.S. Simko belt, Maison Michel hat, Dary’s earrings, Sergio Rossi sandals and Chloé bag.

102 BETTER BUSINESS Attract attention in verdant brocade or a cropped option that works after-hours. Gucci jacket, shirt, pants, shoes and brooch, Charvet ribbon, Dary’s earrings, Tiffany & Co. ring, Dinh Van bracelet (left) and stylist’s own bracelets (middle and right). Opposite: Lanvin jacket and pants, Haider Ackermann scarf, Charvet pocket square, Alexis Bittar brooch, Cartier Tank Française watch, Dary’s earrings, David Yurman ring (left) and Tom Wood ring (right). 105 PINUP GIRL Delicate adornments bring a girlish spirit to mannish jackets. Altuzarra blazer and pants, Charvet blouse and tie, Lanvin tie pin, Dary’s earrings, Dinh Van bracelet, Tiffany & Co. ring (on left hand), David Yurman ring (on right hand) and Chloé bag. Opposite: Marc Jacobs jacket and pants, stylist’s own blouse, Gucci shoes, Hermès Faubourg watch, Charvet boutonniere and Dary’s earrings.

106 ROYAL OUI A soupçon of ’70s insouciance goes a long way. Polo Ralph Lauren blazer, shirt and pants, Charvet tie and Emilio Pucci trench. Opposite: Chanel jacket and pants, Agent Provocateur bra, Rodarte scarf, Dary’s earrings and chain necklaces, Cartier Tank Française watch, Ana Khouri bracelet, Tom Wood ring, David Yurman ring (both on right hand, top to bottom), model’s own ring (on left hand) and Dolce & Gabbana shoes. Model, Iselin Steiro at Women Management; hair, Marion Anée; makeup, Mathias van Hooff. For details see Sources, page 123. The Right Note

Six years after her last album, the lead singer of cult band Antony and the Johnsons returns as Anohni with a new release.

BY ALEX CLARK PHOTOGRAPHY BY JULIA HETTA

THINK THE RECORD is an attempt to see myself more Mideast conflict to global warming. “There was a lot of clearly,” says the musician Anohni. She is sitting in fear that I had to get through to articulate some of this a Stockholm hotel talking about her latest album, stuff in a song. I was pushing myself way outside of my Hopelessness, out this month. “I need the music to comfort zone.” represent my point of view now.” In a way, though, the album is her most personal effort Outside, a day of Scandinavian sunshine has given yet, the culmination of an attempt to assess the impact Iway to darkness. The singer is here briefly between stops of her own actions. She says she wanted to question “the in London and Milan, far from her New York City home. It’s underlying narrative that if my behavior could speak, what been a whirlwind spring, from her Oscar nomination and would it be saying? Not what my best intentions or my aspi- subsequent boycott of the February awards ceremony to the rational self would be saying.” Internet buzz over the stark video for her new single “Drone Raised in Chichester, England, Anohni moved to Bomb Me,” about a young girl in Afghanistan. Art-directed California in 1981 when the family relocated due to her by longtime friend Riccardo Tisci, the designer of Givenchy, engineer father’s career. There, as a teenager, she lis- it stars model Naomi Campbell as an avatar for Anohni. tened to musicians like Nina Simone and Otis Redding, Tisci, who has collaborated with the singer on tour cos- whose influence can still be heard in her music. In the tumes and invited her to perform at a 2013 Givenchy fashion early ’90s, she came to New York University to study at the show, says, “She is extremely daring.” Experimental Theatre Wing and co-founded the Blacklips This is Anohni’s first record in six years and also the first Performance Cult, a politicized drag theater troupe that under the name she has been using in her private life for sev- performed at Lower East Side clubs, before forming Antony eral years. “Changing my name has been like a formal rite of and the Johnsons. “There have been points in my life as passage,” she says, settling into a sofa, wearing patterned an artist,” she says, “where I have wanted to capture peo- leggings and a black top. “That’s something I didn’t really ple’s attention, probably to compensate for times when I feel comfortable asking for until fairly recently.” felt invisible.” Anohni, 44, now openly transgender, first rose to promi- Recently Anohni’s position as a trans person came to the nence in the late ’90s as Antony Hegarty, lead singer of the fore when her song “Manta Ray”—written with music pro- musical ensemble Antony and the Johnsons. The group, ducer J. Ralph for the documentary Racing Extinction—was a loose collective born out of New York’s experimental up for a 2016 Oscar for best original song. (Other nominees music scene, released its eponymous debut album, a work included Lady Gaga, the Weeknd, Sam Smith and composer of brooding baroque pop, in 1998. They built on their David Lang.) Usually best-song nominees are invited to distinctive sound with 2005’s I Am a Bird Now, which fea- perform, but Anohni’s participation was never announced, tured performances by other musicians including Rufus leading to a flurry of media speculation. Ultimately Anohni Wainwright and Lou Reed. It won Britain’s prestigious refused to attend the ceremony. “All they needed to do Mercury Prize, beating out Coldplay and launching Antony was call me and say, ‘You’re not going to be performing,’ ” and the Johnsons onto the international stage. The group she says. “It’s called manners.” Some activists and critics subsequently released two more albums, collaborating argued that as only the second openly transgender artist along the way with singers such as Björk, Yoko Ono and ever nominated for an Oscar (the first was the English com- Laurie Anderson. poser Angela Morley, in 1974), Anohni could have sent an “She is a once-in-a-generation singer and songwriter,” important message by performing. But she thinks her exclu- says Anderson, whose late husband, Reed, often performed sion had a lot to do with her being an indie musician and live with Anohni, including at a 2005 concert at Carnegie “nothing to do with my being transgender. I wasn’t consid- Hall in New York. ered financially significant enough to be afforded respect,” FIGHTING WORDS While previous albums featured symphonic, piano- she says. “I was beginning to based chamber pop with intensely personal lyrics sung Difficult territory is nothing new for Anohni, who has be a bit repulsed by my own passivity in the in Anohni’s velvety vibrato, Hopelessness takes her politi - covered material from body dysmorphia to what she calls gestures I was making cal and ecological preoccupations and foregrounds them “late-stage virulent capitalism.” “That’s kind of my oeuvre creatively,” says the against electronic, bass-driven songs. “In the past, I’ve of anger,” she says, laughing. Recently, she has become san- musician Anohni (right) about the impetus written a lot of very pastoral music about my inner life,” guine about her own place in the world. “Life is short, and

behind her new album. says Anohni, whose new album tackles subjects from there’s something to be said for being true to yourself.” • HAIR, CIM MAHONEY; MAKEUP, ANYA DE TOBON

111 LUSH LIFE Native vegetation overhangs a reflecting pool at the Sítio Roberto Burle Marx, the late landscape architect’s estate outside of Rio de Janeiro. Opposite: A detail from a work in progress by Brazilian painter Beatriz Milhazes.

FERTILE GROUND A new exhibit on modernist Brazilian landscape designer Roberto Burle Marx demonstrates his importance to contemporary artists, including superstar painter Beatriz Milhazes.

BY CAROL KINO PHOTOGRAPHY BY LUIS RIDAO

112 TOWERING FIGURE of Brazilian mod- ernism, 20th-century landscape architect Roberto Burle Marx has long been known as the father of tropical garden design, the man who opened his compatriots’ eyes to native veg- Aetation at a time when European-style plots full of imported roses and begonias were all the rage. Taking indigenous flora like Amazonian water lil- SHARED INTERESTS ies, cactuses, palm trees and agaves as his palette, he Left: Beatriz Milhazes at her Rio de Janeiro created biomorphic abstractions that recall the work studio. Below: Materials of the artist Jean Arp. And he applied this bold new gracing Milhazes’s walls approach to some 2,000 public and private projects in alternate with images from the Sítio Roberto 20 countries around the world, including the monu- Burle Marx, showing, mental parks and floating gardens of Brasília, his from left, his azulejo country’s utopian capital. paneling, a garden wall of repurposed concrete An even richer picture of the man will emerge and his ceramic tilework. this spring with the opening of Roberto Burle Marx: Brazilian Modernist, running May 6 through September 18 at New York’s Jewish Museum. The first wide-ranging exhibition of Burle Marx’s work in North America, it will feature rare highlights—such as an 87-foot-long tapestry that has left Brazil only once and never-displayed designs for synagogue gardens and stained-glass windows—revealing his talents not just in landscaping and botany, but also in painting, jewelry, sculpture, and costume and set design. (The show will later travel to Berlin’s KunstHalle by Deutsche Bank and the Museu de Arte do Rio in Rio de Janeiro.) More than two decades after Burle Marx’s death, in 1994, his legacy continues to influence contempo- “Burle Marx showed Brazilians how Beautiful it rary artists, as can be seen in the seven projects the museum assembled, and in most cases commissioned, was to use native plants and tropical plants to accompany the show, by talents as varied as the froM all over the world. and he introduced the Venezuelan conceptualist Juan Araujo, the American aesthetics of painting to landscape design.” experimental composer Arto Lindsay and the French video artist Dominique Gonzalez-Foerster. –Brazilian curator lauro cavalcanti Of those works, a particularly thrilling one will be Gamboa II, an extravagant, efflorescent canopy made of dangling beads, balls, flowers and other materials typically used for samba floats. Its creator, painter Beatriz Milhazes, is a true Carioca—a native of Rio de Janeiro, where Burle Marx spent most of his life— and her piece is named after the city’s samba school district. It will take pride of place in the museum lobby, hanging from the ornate ceiling, its sparkling tendrils drifting above visitors’ heads like the flow- ering heliconia and spiky bromeliads in a Burle Marx garden. Even the connection to Carnival is a fitting tribute to the late designer, who was considered such a national treasure that in 1988 he was saluted at Rio’s annual festival with a float and song that started “Oh! Grand master Burle Marx!” Known for her colorful collage-like paintings that pulsate with decorative and geometric motifs, Milhazes, 56, is one of Brazil’s most successful con- temporary artists, both in terms of prices and renown. And she spent her childhood, in Rio’s Copacabana neighborhood, immersed in the work of Burle Marx. To the north of her family home stands one of his GREEN ACRES largest public projects, the gardens for Parque do Clockwise from top: Metal sculptures at the Sítio Roberto Flamengo, a 300-acre expanse of beaches, play- Burle Marx; a Milhazes work in progress; tropical grounds and playing fields, completed in 1967. In the foliage lining a Sítio walkway; Burle Marx’s ribbonlike mosaic design for the Avenida Atlântica sidewalks in 1970s, as Rio expanded, Burle Marx redesigned the Rio’s Copacabana neighborhood; Milhazes’s workspace. medians and sidewalks of Copacabana’s oceanfront

114 115 Avenida Atlântica, creating a 2.6-mile-long stretch trying to find her own way as an artist, that Milhazes other motifs drawn from Brazilian culture—Baroque of stone mosaics magnifying and riffing on the pave- started to look at Burle Marx’s work in earnest. She churches, folk amulets and colonial arts all the way ment’s original 1905 black-and-white wave pattern, had rejected the figurative painting that was fashion- to Carnival and Carmen Miranda headdresses. The itself a play on a centuries-old Portuguese motif. “I able at the time, wanting instead to create abstract painting style she developed is equally unusual: It was always going to the beach and walking through work. But she was looking for a more personal expres- involves applying acrylic paint to sheets of plastic, his designs,” Milhazes recalls. sion than the neo-concretist abstraction of her fellow gluing the painted side to the canvas, peeling off the Both her mother, an art historian now retired from countrywoman Lygia Clark. On a trip to Paris in 1985, plastic and placing the shapes on top. Though the the Universidade Estadual do Rio de Janeiro, and she was electrified by her first in-person viewing of work reads as flat and graphic when it’s reproduced, her father, formerly a lawyer, are passionate about the work of Henri Matisse. “It changed everything,” in reality it is layered and multidimensional. she says. “I’d never seen any of Milhazes has gone on to great acclaim, represent- the modern painters live. I hadn’t ing Brazil at the 2003 Venice Biennale and showing at “Milhazes’s aBstractions are seen the real pressure, the scale.” galleries and museums around the world. But at first, Built froM eleMents of Inspired by Matisse’s use of color “People in Rio didn’t know what to do with her early Brazilian folk and pop culture. and his abstraction of natural work,” says Tobias Ostrander, the chief curator of the forms, she veered even further from Pérez Art Museum Miami, which mounted the artist’s with soMe irony, she’s the mainstream. first U.S. survey, Beatriz Milhazes: Jardim Botânico, playing with what the world For direction, Milhazes looked to in 2014. “The older guard were all geometric abstrac- thinks of as her culture.” the Brazilian artists of the ’20s and tion folks who thought it was too decorative, too ’30s, especially those, like the sur- figurative,” Ostrander explains, while the younger –gallerist jane cohan realist painter Tarsila do Amaral, crowd, moved by artists like Julian Schnabel and in the Antropófagia—or “canni- Francesco Clemente, didn’t find it figurative enough. Brazilian culture, and they made sure their daughters balism”—movement, which ingested elements of “She was painting references to the body, particu- understood the significance of Burle Marx’s work. European modernism and fused them with Brazilian larly the decorative feminine body—lace and flowers “It was always an important thing to talk about and culture. (It flowered again in the famous Tropicália and pearls,” Ostrander adds. “It was this hybrid that show us,” Milhazes says. By the time she attended movement of the ’60s.) She was similarly drawn to was really uncomfortable for both sides.” Rio’s Escola de Artes Visuais do Parque Lage, in the Burle Marx, she says, because “he was focused on Of course, Burle Marx, in his time, presented a dis- waning days of the 1964–1985 military dictatorship, what he could find within Brazil, in the tropical envi- comfiting hybrid too. Born in 1909, he grew up in Rio, she was keenly aware of Burle Marx as a leading cul- ronment.” And though she later came to admire his but it wasn’t until he went to Berlin to study painting tural figure. Later, after Milhazes started teaching paintings, which ranged from portraits to still lifes that he became fascinated with Brazilian plant life. at the school, the director organized a show of Burle to abstractions, initially, she explains, “it was more It was on a visit to Berlin’s botanical garden, in 1928, Marx’s paintings, and she had the chance to meet the about his concepts, his landscape drawings. I liked that he first encountered certain Amazonian flora artist. “It was an exciting moment,” she recalls. “He the simplicity. Then I went back to the Copacabana and other unfamiliar specimens. Returning home was very elegant—not his clothes but his posture; he sidewalk. From there I went to the plants themselves.” the next year, he began experimenting with them in had this feeling of confidence and warmth.” Despite Milhazes developed a language that melded geo- his mother’s garden. his friendly demeanor, Milhazes was too shy to strike metric shapes (squares, squiggles, target-like circles, A neighbor, the architect Lúcio Costa—later the up much of a conversation. op art–inspired, Bridget Riley–esque dots) with planner of Brasília—took notice, and by the age of 25, It wasn’t until the early ’90s, when she was stylized fruit and flowers, arabesques, paisleys and with Costa’s help, Burle Marx had become the head of the parks department in Recife, a city in the north- east. There, his use of cactus and red sugar cane, both associated with workers’ uprisings against the era’s military dictatorship, figured in accusations of sedition against the young designer, who was later Though one might not describe Milhazes’s work as thousands of plants—he discovered close to 50 spe- paradoxes of the tropical environment. “People think dismissed. “Yet the modernists were also using the overtly political either, it too broke boundaries. “Her cies—he brought back from his jungle expeditions. it’s colorful, when it’s not,” she says. “It’s actually cactus as a symbol of Brazil,” says Claudia Nahson, abstractions are built from elements of Brazilian (A pioneering ecologist, he also helped spearhead very green.” (If you visit the Sítio Burle Marx, she one of the curators of the Jewish Museum show. folk and pop culture,” says Jane Cohan, a partner in the rainforest preservation movement.) adds, “you’ll understand that very easily, because “So he was really operating within the context of New York’s James Cohan Gallery, which represents Burle Marx’s inventive spirit found other outlets it’s all about different kinds of green and shapes and early modernism.” Milhazes in the U.S. “With some irony, she’s playing as well. He entertained frequently, cooking, playing ornamentation.”) Lately she has found herself preoc- Burle Marx went on to work with Costa and Oscar with what the world thinks of as her culture—she’s music and hosting guests like Le Corbusier, Alexander cupied with raw nature itself. “Since I grew up in Rio, Niemeyer (then Costa’s assistant) on Rio’s Ministry of giving us what we expect, but she’s made it up.” Calder, Buckminster Fuller, Pablo Neruda and Susan with an ocean and a forest as well as a garden, I find I Education and Health, an International Style building. Nahson sees many commonalities between the Sontag. With the help of Costa and other architect need it for my creativity,” she notes. With the three gardens Burle Marx created there in two artists, especially the way Milhazes, like Burle friends, he built modernist follies: He held parties Milhazes’s work remains deeply grounded in the 1938, he ruptured completely with the past, massing Marx, is a major colorist. They both exhibit a huge in an open-roofed “stone kitchen,” assembled from streets of the city, too, as can be seen in Gamboa, a native plants into textured, amoeba-like shapes that “push and pull between the rational and the lyrical,” granite salvaged from 18th- and 19th-century Rio work that she first developed from a set she made seem to burst from within their rectilinear frames. she says. “Beatriz’s work bursts with energy, but buildings. Toward the end of his life he created a fan- in 2004 for her sister, the choreographer Marcia “He showed Brazilians how beautiful it was to behind it there’s a thought-out process. Burle Marx tastical studio from the remains of another historic Milhazes. After years of channeling her energies into use native plants and tropical plants from all over was also very much about that—there’s nothing left structure. “He designed the facade like a puzzle,” painting, she says, “I started thinking I would like the world,” says Lauro Cavalcanti, the curator of an to chance.” recalls Haruyoshi Ono, a longtime colleague who now to develop something that was more about volume.” in-depth Burle Marx show that opened at Rio’s Paço The relationship between nature and art is at runs the landscape firm Burle Marx founded. “It’s an Over time she has reconfigured the original Gamboa Imperial in 2008 and traveled to São Paulo, Berlin and play in the work of both, which is evident in their artistic composition.” for different shows. This process inspired her to cre- Paris. “And he introduced the aesthetics of painting respective studios. The Sítio Roberto Burle Marx, As for Milhazes, she works out of two small row ate her first sculptures, made with materials like to landscape design.” Burle Marx sparked a creative a sprawling collection of orange and banana plan- houses in Rio’s Jardim Botânico district, using one brass, copper, aluminum and wood, which premiered revolution, if not a populist revolt. tations outside Rio that the designer acquired for painting and one for making her collages. “I’m last fall at James Cohan’s Chelsea gallery. piecemeal over decades, eventually became ground isolated there,” she says. “Every subject can have its And now she has re-envisioned Gamboa as a tribute zero for all his creative experimentation, the place own space and time. It’s perfect.” to Burle Marx. “Modernism has had such a huge influ- COLOR STUDY Left: A Milhazes collage in progress, captured at her atelier (opposite), one of two adjacent spaces where he worked out his ideas in multiple art forms, Her two spaces border on Rio’s 19th-century ence on me,” she explains. “And Burle Marx was part of she works out of next door to Rio’s Jardim Botânico. from painting to sculpture, and nurtured the botanical garden, allowing her to observe the everything having to do with modernism in Brazil.” •

116 117 Artist Duke Riley’s new performance piece will send thousands of pigeons soaring over the Brooklyn Navy Yard—and, he hopes, forever change our perception of his feathered friends. FLY AWAY HOME BY TONY PERROTTET PHOTOGRAPHY BY PARI DUKOVIC and swirling against the Crew), he casually scoops birds from their stalls and a tattoo parlor in Greenpoint, Brooklyn, specializing Manhattan skyline, then handles them with practiced affection. in nautical and avian images; he has three pigeon tat- return to their maritime “Pigeons have been domesticated for thousands toos himself). Then, in 2013, he created a performance coops, guided homeward in of years,” he says, stroking a snow-white dove, “just piece called Trading With the Enemy: To protest part by luminous naval flags like dogs and cats.” In a sense, he is conducting a the U.S. embargo of Cuba, Riley trained pigeons to Riley has painted on the one-man PR campaign for the once-beloved crea- carry cigars from Havana to Key West, Florida, evad- boat’s roof. “It’s been my life- tures now often dismissed as dirty urban pests. Riley ing spyware that cost taxpayers millions annually. long dream to merge my two regards the term “rats with wings,” popularized by (Riley’s video account deadpans: “Homing pigeons interests, water and birds,” Woody Allen in Stardust Memories, as libelous: “In cannot be identified by surveillance balloons, nor he says. “A giant boat that is fact, pigeons are highly intelligent, very clean and can they be prosecuted for smuggling.”) Soon after also a floating pigeon coop? have served mankind for centuries. They deserve our in New York, he came across a 1930s pigeon-training I’m going to be like Noah!” respect and should be looked after.” handbook from the U.S. War Department, a once- The spectacle is being pre- To support his point, Riley provides a crash course classified document that included a chapter on night sented by Creative Time, a on pigeon culture, starting with the enormous vari- flight. “Pigeons have been used to carry messages nonprofit organization that ety of breeds. “Tipplers are known for how long they in every armed conflict since the Babylonians,” he specializes in provocative can fly. People have reported them staying up in the points out, and with modern firearms, flying under public art mounted in historic sky for 18 hours. These guys are Egyptian swifts; cover of darkness was essential to avoid being shot New York locales. “When they’re very, very smart. Those ones are Russian at. In World War II, he says, the Nazis used teams of Duke described this dream High Flyers. They’re beautiful, beautiful birds. And trained hawks to intercept pigeons by day. project of his—pigeons flying that white ashy one is a Damascene. They’re believed His first night test was in Havana. (“Cuba is off at dusk, the body of water, to be originally from Damascus, a breed dating back the radar,” he says. “I like to develop my ideas with the LED lights—we fell in centuries to the days of Muhammad.” There are a little bit of secrecy.”) Back on American soil, he love with it immediately,” Tumblers and Rollers, both known for their acro- trained a sturdy pigeon to carry a bike lamp across says Creative Time execu- batics, and fancy birds such as Satinettes, which are Brooklyn’s Bushwick neighborhood, and the idea of tive director Katie Hollander. awkward fliers but are prized for their wing patterns. a mass flight with LED lights began to take hold. New “And Brooklyn Navy Yard is Some breeds have elegant white clusters of feath- York seemed the obvious setting, in part because one of the industrial gems of ers (called “boots”) around their legs; others have of its urban environment. “A lot of people don’t pay New York, full of character tufts (“caps”) behind their heads. Riley adds that the attention to the natural world; they just look down LIFE OF RILEY and grit and beauty.” ancient Christians of Cappadocia bred pigeons for at their cell phones,” Riley says. “We’re more discon- Riley’s former projects Riley’s work also fits with their droppings, a rich fertilizer. nected from nature all the time.” But his broader aim include Trading With the currents of contempo- Riley’s affinity for pigeons began when he was is to champion the oft-reviled birds in a city that once the Enemy (parts of the installation, top rary art, says Creative Time a nature-loving kid in Boston and took care of an embraced them. A century ago, New York was home left and right), in which curator Meredith Johnson. injured bird. “It kept coming back to me,” he recalls. to an ethnically diverse community of pigeon fanci- pigeons smuggled “There’s a long history The avian romance cranked up a level in the early ers with coops on rooftops across the five boroughs. Cuban cigars (right) from Havana. Far right: of artists looking at the 1990s, when as an art student Riley lived in a pigeon The birds were raised as pets, or to be raced and In 2007 he floated relationship between the coop for four years in Providence, Rhode Island, pay- “caught” in friendly games with neighbors. “Even in a replica Colonial-era BLING TONE Pigeons have long been raised by New York’s immigrant man-made world and nature,” ing $25 a month in rent. “The pigeons were like my the 1980s, pigeon coops were all over the East Village submarine in New communities. Previous pages: Artist Duke Riley in one of his coops. York Harbor. she explains, although using roommates,” he recalls. “They would fly in and out of and Lower East Side,” he laments. “Now there are wildlife as actual partici- the windows all day, then s— all over my down com- only two in the entire borough of Manhattan.” Today, pants rather than subjects forter at night.” (How this affected his dating life one the last collectors are under pressure in other parts HIS IS OUR PIGEON Ellis Island,” boasts (think Damien Hirst’s notorious shark suspended in hesitates to ask.) In 1997, he moved to Brooklyn and of the ever-gentrifying city. “I want to draw atten- survivor from the golden age of “mumblers” (as fan- until they felt free enough to explore the area. Test artist Duke Riley as he clambers up a formaldehyde) is a more rarefied field. She points to within a few years enrolled at the Pratt Institute. tion to the challenges people who raise pigeons face ciers in New York were once nicknamed). He began flights were then made by releasing flocks from more gangplank to the Baylander (IX-514), a Joseph Beuys living with a wild coyote for several From the start, his work challenged traditional now. Immigrant groups have been forced out of their working with the birds at the age of 8 in Sunset Park, distant locales in Brooklyn and Manhattan. decommissioned U.S. military vessel days in 1974 and, more recently, Mark Dion’s use of definitions of mixed media, combining drawings, old neighborhoods, breaking connections passed on Brooklyn, with his uncle and is given to existential Riley admits that he doesn’t know exactly how docked at the Brooklyn Navy Yard. The live finches in a series of avian “libraries” and Natalie sculpture, printmaking, mosaics, video and “per- from father to son.” musings about pigeon life in the concrete jungle, the mass flights over the East River will unfold. “It boat’s deck, a landing pad for helicop- Jeremijenko’s work with mussels and butterflies. “It’s formative interventions.” Meanwhile, at home he Organizing the flock involved logistical problems. including the presence of predators. “Hawks have the will be different every time,” he says, noting that Tters during the Vietnam War, is now home to a series really a question as old as time,” Johnson adds. “Can maintained rooftop coops and sometimes even kept “You can’t just go on the Internet and order 2,000 control in the air,” Perez says. “You can’t do nothing. varying tide levels and winds will affect the birds’ of large pigeon coops partly inspired by antique we connect with animals other than by just intruding pigeons in his living room and bathroom—until an pigeons for tomorrow,” Riley says. Some of the birds It’s part of nature; you’ve got to respect that.” behavior, and that each breed has a different fly- photographs and painted battleship gray. There is a on their environment or consuming them? What is irate landlord would force him to get rid of the birds, were purchased from fanciers, some borrowed, oth- Riley now has a bunk on the Baylander so he can ing habit. “Some will do figure-eights, others will pleasing symmetry to the location, Riley explains, as our social relationship? Pigeons share our landscape even though the practice is not technically illegal. ers bred in a warehouse in Red Hook. (Riley took live among his pigeons. “I live in dread of the project fly high, or maybe they will all stay in one flock,” he he points beyond industrial cranes and passing boats every day but are invisible to most people. This will (“People who keep pigeons are always battling mis- birds out for training flights from the nearby IKEA ending and having to leave this boat,” he says. “If the says. “Ultimately, the birds will do what they want to to the former site of Cobb Dock, an artificial island change the way we look at the creatures forever.” information,” he says with a sigh.) parking lot.) In February, the flock was transferred motor worked, I’d be tempted to disappear with my do. It’s not a circus show. It’s more of a collaboration just offshore that once housed hundreds of homing Given Fly by Night’s elaborate scale, any- Riley soon achieved underground fame in New to the Baylander in the Brooklyn Navy Yard, now an birds in the middle of the night. I’d contact Fidel and than a performance.” pigeons, which from the Civil War until after World one who suffered childhood nightmares from York for his imaginative performance art, which industrial park but once the busiest boat-building Raúl and work something out.” Whatever transpires, Fly by Night will offer a spec- War II were trained to carry the Navy’s coded mes- Hitchcock’s The Birds may want to admire the flights often connected to his other great passion, water. center in the United States, where construction went tacle that is unlikely to leave viewers unaffected. “To sages from ships at sea. “We’re part of pigeon history from afar. The Baylander is a paradise for pigeons In 2007, he re-created a primitive 18th-century sub- on seven days a week through snow and rainstorms. INCE HE MOVED to the Yard, training of experience pure wonder and joy is rare and spe- here,” he says. (the coops are clean and orderly, with one-way por- marine from the Revolutionary War called the Turtle Today, Riley’s two-dozen-strong project team the expanding pigeon flock has been cial,” says Hollander. “New Yorkers are constantly Still, it’s safe to say that the Navy’s crusty tals, known as “buck bars” to pigeon fanciers, and and floated it toward the docked Queen Mary 2. (He seems plucked from a ’70s sitcom. The scale of the nonstop, although Riley prefers to main- running. This is an opportunity to escape the daily “pigeoneers” (as military trainers of homing pigeons landing boards) but a little intimidating to unini- was intercepted by an NYPD boat as a potential ter- operation forced him to hire an expert “coop man- tain an aura of secrecy. “There are a ton grind of the city, to experience freedom and connect were called) never envisioned an avian project quite tiated humans. Opening a coop door may cause an rorist.) Another installation was a speakeasy called ager,” Tianna Kennedy, who had run poultry and bee of tricks,” he says evasively. “Everyone with nature.” She predicts that the performance will like Riley’s Fly by Night. Over six weekends starting explosion of avian activity—wings flapping in your the Dead Horse Inn, built from pieces of an old shan- farms upstate. (“It’s been a steep learning curve,” argues about the best ways to do it.” The likely resonate with those who see it for years to May 7, the artist will release some 2,000 pigeons at face, claws brushing at your hair, babies squawk- tytown on a former island in Sheepshead Bay, where a she says, sticking her head out from a penumbra of Skey is patience. “Birds need time to become comfort- come. “Later on, when you are going to work or pick- dusk, each with an LED light attached to a leg. In what ing in their nests. The air is heavy with the acrid bar had operated outside city jurisdiction for decades wings. “I could write a doctorate on pigeon health.”) able. They need to know they are being cared for and ing up the kids or going shopping, you can look up at a is likely to become one of New York’s most ethereal perfume of droppings. But the 43-year-old Riley is in the early 20th century. Working alongside her is Mikey “Rollers” Perez, fed and to recognize their caretakers. They know flock of birds and be automatically transported,” she pieces of performance art, the birds will fly en masse in his element. Wearing a black hoodie of his own Riley drew inspiration from pigeons in his art nicknamed for his favorite breed, which has a knack they are safe here; it’s a place to return to.” Each day, says. “That’s the beauty of art. It provides everlast-

over the waters of the East River, swooping, tumbling design bearing the letters BPC (Brooklyn Pigeon early on, first in his drawings and tattoos (he founded COURTESY OF DUKE RILEY STUDIO (4) for aerial rolls and flips. Perez is pigeon aristocracy, a groups were taken a little farther from their coops ing memories.” •

120 121 122 commercial a for backgrounds unusual with hired staff notably also has He directors. gallery two or one by overseen periodically, typically are needs day-to-day in their checking personally, with artists his meets all he as Although well who as expectations. Gagosian’s commissions deputies, sales by to incentivized are responsibilities some handed the floated Wood’s first work.) showing of idea who Gagosian was it differ- saying ently, encounter the remembers representative, a by reached laugh. (Jagger, Big Dylan.’ ” Bob other no Joni there’s mold; the showing breaks of kind not Dylan Bob I’m I’m Mitchell. wrong. Bennett, it Tony got showing you not ‘Mick, like, or Wood?’ I’m Ronnie something. show to want you says, ‘Do and the in the was it review bad predictably a got we pursue, And curveball. a like necessarily to wanted wasn’t it I But fun. something was it and it, did we So OK.’ ‘Ah, said, he “And smiles. Gagosian there.’ ” you’re if ter bet-lot a sell to going they’re one, Number probably. show, you to need don’t and do it either, this todo need don’t ‘I said, I And ings.’ open- to go doesn’t ‘Bob says, Jeff then opening.’ And show the to the come do you to unless going one not there’s I’m listen, thing: ‘Bob, said, “I ing. open- the attend to Dylan convincing was closed be to had that deal real the But laughs. He right?’ ” up, prices the crank of kind you’ll then and some sell we’ll it, got I so ‘OK, says, he “And says. Gagosian thing,’ ” Dylan-Gagosian this like ‘Yeah—I says, he And laughed. he joke—and a cracked and chance a took just I point some At mine. of hero a was he since nervous, really was “I says. he Dylan Bob me,” from away feet 20 about there’s standing then And beanbag chairs. with carpeting shag brown of and piano electric kind an was There room. dingy nondescript, this “It was California. Monica, Santa in coffee a shop behind hidden office, at Dylan’s Rosen, Jeff manager, his and him with meeting a wrangled finally he at Hampton, East in watercolors BookHampton Dylan’s of book a gallery. discovering the at After paintings of show a convince do to to Dylan trying Bob was he when is fright stage hav- ing to admits he times few the of “Keyed One says. maybe.” up, he nervous,” get really don’t “I acter. ready to go char- head-to-headMamet any David with world go around.” the makes money, that need and they and schools private in kids their putting they’re and houses country their buying they’re know, You So income. you’ve got to you sure make do can the job. As his gallery has expanded, he has perforce perforce has he expanded, has gallery his As up me calls Jagger “Mick adds, he then,” “And appears Gagosian stare, blue-eyed keen, his With with Bob Dylan. Bob with York New Times New New York Times LARRY GAGOSIAN Continued from page 91 page from Continued —but at we least got a in review This month, Gagosian inaugurates a space in San Francisco (his 16th gallery). gallery). 16th (his Francisco San in aspace inaugurates Gagosian month, This His far-flung outposts have often anticipated shifts in the global art market. art global the in shifts anticipated often have outposts far-flung His T boxing matches with his old friend Robbie Robertson Robbie Robertson old friend his with matches boxing goes to and Lauder Ronald with Thanksgiving spends “energy.” He shares Knicks tickets with Steve Cohen, their enjoys he saying children, four Erpf’s with time spends and gallery, York New Chrissie his in director girlfriend, a Erpf, his with lives He children. had or remarried never he dissolved, quickly that college eration in courts in the U.S., Switzerland and France.) and in U.S., the Switzerland in courts eration consid under currently is dispute The Qatar. of emir brother-in-law the al-Thani, of of the Sheikh on behalf million $42 for piece the purchase 2014to November in Widmaier-Picasso with agreement pre-existing a had it claims Holdings Pelham firm advisory art The Black. Leon collector to sold and 2015 May in million $105.8 the for from Widmaier-Picasso Maya daughter purchased artist’s sculpture, Picasso a of own ership the regarding litigation in involved currently 2014 exhibition the exhibition on 2014 Richardson John curator and Gagosian with worked who Ruiz-Picasso, Bernard way,” says a in is, somebody.” with hours for books art through look to time have don’t I I mean, of impatient. kind I’m it. into already is and art collect to want they that in knows who interested somebody more I’m eyes. my rolling start just I “Sometimes me,’and say, ‘Teach they gallery, the to come Gagosian. people says business,” the of hand-holding the part at good not “I’m Moscow. in Art Contemporary of Zhukova, Museum Garage the of founder Dasha the as such collectors developing younger and to Israel ties Alex L.A.-based like zeitgeisty artists up picking forward, is pushing himself constantly Gagosian M.B.A. Harvard a and curator Art Modern of Museum former a including gallery, “People think of Larry as a kind of shark, and he he and shark, of kind a as Larry of think “People to mind his one-time client Gianni Gianni during marriage brief a client After Agnelli. one-time his mind to call that button-downs tie-less ers and blaz unstructured uniform toward more His tends suit. power Armani an HESE HESE BRICKS AND MORTAR AND BRICKS ias & h Camera the & Picasso DAYS , Gagosian no longer wears wears longer no Gagosian ,

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Chloé boutiques boutiques Chloé select $2,290, bag, Chloé Harbour, Bal Rossi, Sergio $950, sandals, Rossi Sergio trussardi $736, pants, and $1,226, blazer, Trussardi THIS page boutiques Pucci Emilio select $3,300, trench, Pucci Emilio Paris, Charvet, $146, tie, Charvet stores, Lauren Ralph Polo select $198, pants, and $125, shirt, $298, blazer, Lauren Ralph Polo page 109 boutiques Gabbana shoe &Gabbana York,New Dolce Avenue, Madison Yurman David $1,100, ring, Yurman David .com, tomwoodproject $400, ring, York, New Tom Wood Barneys $28,195, bracelet, Khouri Ana boutiques, Cartier $4,750, select watch, Française Tank Cartier Paris, Dary’s, $6,976, $7,651, and $4,275, $2,925, necklaces, chain and $5,063, earrings, Dary’s rodarte.net, request, upon price scarf, Rodarte .com, agentprovocateur $190, bra, Provocateur Agent boutiques, p and $5,800, jacket, Chanel page 108 ants, $3,800, select Chanel Chanel select $3,800, ants, s, $595, select Dolce & & Dolce select $595, s, wS j. magaz S ource .com, .com,

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S HOTEL NO.

COTTON HOUSE HOTEL EXACTLY BARCELONA L I K E NOTHING ELSE

Cotton linens, cotton curtains, cotton artwork and even a seven-story spiral staircase made to evoke the spinning of cotton. From the mind of Lázaro Rosa-Violán, the Cotton House Hotel is a one of a kind experience you can only find in the Autograph Collection. Gracias, Lázaro!

Watch this story and explore our collection of independent hotels at autographhotels.com

still life RENZO PIANO The renowned architect shares a few of his favorite things.

PHOTOGRAPHY BY BEPPE BRANCATO

“ON THE LEFT WALL is a sketch by Roy Lichtenstein are my passion—they are shaped alike, elegant and It’s also about beauty—it’s a vast idea, but of course gifted to me by his wife. I had been working with him beautiful. I build a sailboat every five or so years. the Venus is one of the most direct expressions of on a project before he died. When I’m away, I cover Behind the boat is a model of one of four buildings beauty ever. The suitcase sculpture hanging on the the sketch so that it’s not exposed to light—I don’t that I’m working on now for Columbia University. In window is made of bronze. The artist Jean-Michel want art lovers thinking I’m mad! The model at the the center of the desk, toward the front, are sketches Folon gave it to me. It’s empty, so it’s a suitcase to far left corner of my desk is of The Shard in London, concerning the same project, as well as white-out, a nowhere and everywhere. The book is Moby Dick, which I designed. The different shards of glass on top green marker and Faber-Castell colored pencils—my a novel I return to again and again. It’s about big never meet. I like the idea of an unfinished building. instruments. The artist Mark di Suvero, my good passions, a small planet and water. The sea, my last To the right are my binoculars. My desk overlooks friend, gave me the sculpture in the back several ‘item,’ is pure magic for me. It’s the interconnect- the Ligurian Sea. From time to time I can see dol- years ago. It’s made of steel. For me, it’s an energizing ing element of the world. Everybody thinks the sea phins, so you have to be ready. There’s a model of a element and always reminds me of a great person. A remains the same, but the sea is never the same. The sailboat next to the binoculars. When I talk about ceramic Venus de Milo souvenir is on the right. When light, the vibrations, the life—everything changes.” dolphins, I inevitably talk about sailboats, which I look at it, I recall the time that I sailed around Milos. —As told to Thomas Gebremedhin

124 wsj. magazine LÁZARO ROSA-VIOLÁN INTERIOR DESIGNER CHANEL FINE JEWELRY BOUTIQUES 800.550.0005 CHANEL.COM ©2016 CHANEL®, Inc.