September 2 2014

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7 posts tagged "Gagosian Gallery"

Victoire de Castellane’s Bejeweled Garden, Now Growing at Gagosian Gallery


Victoire de Castellane

Last night, Dior’s head of haute joaillerie, the ever-fantastical, ever-inspired Victoire de Castellane, celebrated the opening of her independent show Precious Objects at Gagosian’s Madison Avenue gallery. The exhibition, she explained, looked to the limits of the natural and artificial. “The idea is to show the extreme two possibilities that I can create: the more extravagant and the more maybe classical—because I play with precious stones like emeralds, diamonds, sapphires,” said the Parisian, who has been incorporating sculpture into her fine-jeweled creations since 2007. “It’s a mix of my inspirations, so it’s a mix of nature, of the feminine universe, of romanticism, and how we live together and how we manage to succeed to live together.”

Victoire de Castellane

This wide-reaching set of influences came together in a series of bright flora- and fauna-referencing baubles—pulled from the animalvegetablemineral exhibition and 2011′s hallucinogenic-inspired Fleurs d’excès range—that rested on raw geode sculptures. A blooming acid pink and emerald green flower holds a gold-encrusted diamond in Crystal Shocking Pink Baby, while a glistening, teal-blue snake wraps around a sparkling iridescent lacquer in Lunae Lumen Holly Colorum. Thanks to their magnetic color palette and whimsical, girly names—Honey Florem Peach Frutti, Lunae Lumen Glitter Blue, etc. —the pieces feel like an artist’s reimagining of nature fused with yesteryear’s Lisa Frank. “They are like little treasures!” exclaimed De Castellane from the side of the gallery. “It’s important to wear them like treasures,” she added of her artful, magical, and undeniably wacky creations. “I also wanted to show what happens when you don’t wear the jewels. It’s a bit ‘How to Enjoy Your Jewels When You’re Not Wearing Them.’ [Jewelry] is a language for me, and I want to continue to create, to express myself.”

Precious Objects will be on view through April 5.

Victoire de Castellane, Amanita Satana Diabolus, 2010, Lacquered Silver, white gold, yellow gold, opals, colored sapphires, mandarin garnets, spinels, diamonds, petrified wood, 5 x 12 1/4 x 8 1/4 inches.
Victoire de Castellane, Cana Bisextem Now, 2010, Lacquered silver, yellow gold, white gold, diamonds, emeralds, garnets, cucumber jasper, 3 1/8 x 5 1/4 x 4 1/4 inches.
Victoire de Castellane, Vitam Industria Abstract Multi Candy [Earrings], 2013, White gold, multicolored sapphires, rubies, emeralds and fine stones, 3 15/16 x 4 5/16 x 4 5/16 inches.
Victoire de Castellane, Lunae Lumen Satine Baby Blue, 2013, White gold, sapphire, diamonds, colored lacquer, 2 3/8 x 1 9/16 x 1 9/16 inches.
Victoire de Castellane, Crystal Shocking Pink Baby, 2013, Yellow gold, diamonds, colored lacquer, 3 1/8 x 3 9/16 x 3 9/16 inches.
All images: Vito Flamminio / Courtesy of Gagosian Gallery New York

How Much Is That Sculpture in the Window?


Bottega Window

Long a champion of fusing art and fashion, Bottega Veneta unveiled a new—and bold-faced—cross-industry display at its Fifth Avenue flagship today: a window installation featuring a trio of the house’s Fall ’13 looks alongside two select works by the late artist John Chamberlain.

On loan from Gagosian Gallery (a first-of-its-kind endeavor for the famed dealer Larry Gagosian), Chamberlain’s EMPIREMICROPHONE and COLONELGARGLE—a set of crushed, chrome-plated sculptures—flank three of designer Tomas Maier’s richly hued Fall ’13 frocks. Both Chamberlain and Maier drew upon assemblage—the mid-century style in which artists retaliated against abstract minimalism by focusing more on materiality and physicality (for example, Chamberlain is most often recognized for his works containing parts of junked automobiles)—when creating their displayed works.

Maier, though, also specifically referenced an offshoot of this moment, dubbed Arte Povera, in which a dozen or so Italian artists worked with preindustrial and decidedly more sustainable components such as rocks, paper, and rope. The effect—especially on these dresses, which feature regenerated and punched-through silk-wool blends in eye-popping autumnal palettes—gives the term mash-up a whole new meaning.

The windows will be on display at Bottega Veneta’s 699 Fifth Avenue store through September 17.

Photo: Courtesy of Bottega Veneta

What Playboy Looks Like To Bob Dylan


Having faced allegations of plagiarism after his last show of paintings, Bob Dylan—he of “Blowin’ in the Wind”—confronted the issue head-on for his new one: Revisionist Art: Thirty Works by Bob Dylan, which opens tonight at New York’s Gagosian branch on Madison Avenue, riffs on the theme of appropriation. Like, for example, Playboy Magazine: Sharon Stone (2011-12), above, which borrows elements from the pulp press and the legendary men’s magazine. (Lest you be tempted to call it mere appropriation and not art, recall that it is, at the very least, an improvement on the actual June 1985 cover of Playboy, which featured eighties tabloid sensation Roxanne Pulitzer and a trumpet.) It may be news to Sharon Stone that she’s appearing on the magazine cover (especially since the woman pictured doesn’t appear to be her), but the more pressing question may be, who’s the phantom subscriber? Here’s to you, Mrs. Rosenhorn!

Revisionist Art runs through January 12, 2013 at Gagosian Gallery, Madison Avenue,

Photo: © Bob Dylan. Courtesy Gagosian Gallery. Photography by Robert McKeever

Let There Be Lucio: Will This Artist Influence The Spring Collections?


One of fashion’s most noted phenomena is the mysterious process by which any number of designers might be inspired by the same thing in a given season. But if a certain artist makes an impression on the runways come September, it won’t be so much a case of something in the air as something in the Gagosian Gallery. A handful of European designers are in New York this week for their Resort presentations (along with the dueling dinners that follow), and most of them, it seemed, had been over to West 24th Street to take in a new museum-worthy exhibition devoted to Lucio Fontana. The midcentury Italian painter and sculptor has long been a favorite of the fashion set—Tom Ford installed one of his pieces in the entryway when he opened his first men’s store on Madison Avenue—and it’s intriguing to imagine how Fontana’s slashed surfaces might influence a designer’s work. (Fleeting, wholly impractical thought: how to duplicate the effect on the next cover of See how that flies with the ad department.) Jean-Luc Godard once suggested that all filmmakers should shoot the same script so that you could really appreciate the difference in their styles. It might be fun to witness a similar challenge on the fashion front. Then again, maybe it won’t be Fontana but something else that captures the collective mind. The Avedon show, round the corner at Gagosian’s sister branch on 21st Street, is pretty great, too.

Lucio Fontana: Ambienti Spaziali runs through June 30 at Gagosian’s W. 24th St. gallery; Richard Avedon: Murals & Portraits runs through July 27 at its W. 21st St. branch. For more information, visit

Photo: Concetto spaziale, Notte d’Amore a Venezia, 1961. Acrylic on canvas. 59 x 59 inches (149.9 x 149.9 cm). Courtesy of the Fondazione Lucio Fontana, Private collection /

Garage‘s House Of Horrors


“We got so used to Lily Donaldson’s head being so big that when we looked at the real Lily, her head seemed oddly small,” Nick Knight told at London’s Gagosian Gallery over the weekend, where he was celebrating the launch of Dasha Zhukova’s new magazine, Garage, along with Donaldson (who was on crutches from a horse accident), Dinos Chapman, Harvey Weinstein, Rachel Zoe, Jefferson Hack, and Nicholas Kirkwood. “But she [Donaldson] was a real sport and didn’t mind all that digital messing about.” Knight was referring to the spread of the magazine in which he digitally alters Lily into a demented inhabitant of Chapman’s dollhouse of horrors.

“I built my two daughters dollhouses when they were young, and this was my interpretation of that,” Chapman, one of the city’s most talked-about artists, said. More mental asylum than dollhouse, the set from the photo shoot on display was full of schlock horror toys, adolescent-angst graffiti (“I hate you” and “I am a vandal”), eight-foot crayons, and fraying primary color sofas. Chapman added, “I spliced in a bit of Café Flesh in there, you know, the cult art-house, sci-fi porn film. I know some will protest, but what can I say? Bring it.”

Photo: Samir Hussein / Getty Images