#venet Foundation

[rabbitcruiser]

Public Art, Vancouver (No. 8)

Bernar Venet’s monumental work 217.5 Arc x 13 is part of his Arc series of sculptures which illustrate the beauty, balance, and malleability of raw steel. The name of this artwork is a precise description of its mathematical composition. All of the beams in the sculpture are nested and curved to the same angle providing a sense of balance and grace. Venet employs mathematical manipulations of this industrial material to explore the interconnected relationships amongst nature, humanity, and the universe. The repetitive thirteen curves give a resting yet rhythmic sense of movement and fluidity. The raw red-brown rust colour of the unpainted surfaces of the corten steel, an authentic surface upon which Venet insists, facilitates an interaction with the natural elements.  This sculpture was acquired by the Vancouver Biennale Legacy Foundation in 2007.

“Increasing levels of abstraction and complexity frighten those for whom art is a means to attain a comfortable expression of calm, luxury, and delight.” – Bernar Venet

Source

[alternatif-art]

Exposition : Yves Klein - Pigment Pur

[toosvanholstein]

Kunst die een verkeersfile veroorzaakt? Het bestaat!

Kunst die een verkeersfile veroorzaakt? Het bestaat! Maar daarvoor moet je wel eerst in TOOS&ART lezen hoe de Franse Var en het Waalse Wanlin via Venet met elkaar verbonden zijn. #kunst #art #expo #France # Wallonië

Dit verhaal begint in juli in de Franse Var en eindigt vorige week bij het Waalse Wanlin. Of nee, eigenlijk begint ‘t al in Nice. In het Mamac, het museum voor de moderne kunst daar. Een aantal jaren geleden alweer liep ik daar tegen een expositie aan van ene Bernar Venet. Nog nooit van gehoord, maar wel afkomstig uit het gebied boven Nice. Ik was direct geïntrigeerd door zijn monumentale,…

[fearsmagazine]

THE DARKNESS OF THE ROAD - Review

DISTRIBUTOR: Uncork’d Entertainment

SYNOPSIS:  A single mother and her young daughter are driving on a desolate road in a moonless desert. After meeting a young female hitchhiker at a gas station, the mother realizes her daughter is missing. As they search for her, a merciless force begins to torment the two women, unraveling a world of terror they must survive if they are to discover the terrifying truth behind the daughter's disappearance.

REVIEW: Eduardo Rodriguez’s THE DARKNESS OF THE ROAD is a haunting metaphysical journey of the soul that grapples with the consequences of a character’s actions as she attempts to unravel the mystery that surrounds her.

Right from the beginning the viewer perceives that something is a miss as the mother, Siri, comes awake with a start and is clearly wounded. Seeing her daughter asleep on the back seat, Siri composes herself and heads down the road. She stops at a gas station, where the old man and the attendant solidify the creepiness and otherworldly feel. When the hitchhiker, Iris, is introduced it offers a distraction and the women drive off, before Siri realizes her daughter, Eve, is gone. The women become stranded and things escalate, creatures emerge from the desert and flashbacks hint at dire moments from Siri’s past. Parallels become paradoxes as the narrative plays out its hand that enhances the suspense, tension and emotional intensity.

The narrative has shades of Bruce Joel Rubin and Adrian Lyne’s 1990 film “Jacob’s Ladder,” and a touch of James Mangold’s 2003 film “Identity.” There are numerous clues in the writing and visuals that create unease and horror. The characters find themselves in an alternate reality and the underlying events that have brought Siri here are darker than “Jacob’s Ladder,” but the concept of seeing angels or demons comes into play. Who are these characters, are they actual persons, representations, extensions, or something else altogether. What Rodriguez creates feels like Siri’s journey from limbo to purgatory as she comes to grip with her actions. He crafts his tales without religious symbolism or dogma, making for a more accessible story.

The foundation of the film lies in the performances by Najarra Townsend, Siri, and Leah Lauren, Iris, as they have the majority of the screen time. Townsend is the focal point of the film. Clearly stressed from the viewer's initial introduction she goes on a gripping emotional roller coaster ride. Both women are exceptional, emotionally engaging. Rodriguez gets captivating performances that sustain a viewer’s investment in the film. The rest of the cast provide admirable performances that serve as cornerstones for the narrative and add atmosphere to the film.

I enjoyed the subtle tones of the cinematography, effective in creating a nightmare/fairy tale like world. Many of the scenes have nice composition, and skilled edits keep the viewer off balance and sustain an energetic pacing. The simplicity of the production designs worked well at creating atmosphere. There is a grittiness to the production that is a result of the practical effects that benefit the narrative. Woven into the performances and visuals is Luis Ascanio score that nicely supports and punctuates the film. Clearly an independent film, the film feels like the full budget is on the screen.

THE DARKNESS OF THE ROAD is an entertaining allegory of a mother’s struggle, choices and karma. It is a universal tale unburdened by a lack of religious symbolism. It is a spellbinding story woven from the emotional performances and the surreal feel. An excellent view, but not a happy one. I’m excited to see what Eduardo Rodriguez delivers next.

CAST: Najarra Townsend, Leah Lauren, Gwyneth Glover & Johnny Whitworth CREW: Director/Screenplay - Eduardo Rodriguez; Producers - Juliet Berman, David Lawson Jr., Justin Nappi & Eric Tosstorff; Cinematographer - John DeFazio; Score - Luis Ascanio; Costume Designer - Nik Venet; SFX Makeup Creature Designer - Martin Astles; OFFICIAL: N.A. FACEBOOK: N.A. TWITTER: N.A. TRAILER: https://youtu.be/AUDhgINjKdw RELEASE DATE: DVD, Digital & On Demand December 14th, 2021

**Until we can all head back into the theaters our “COVID Reel Value” will be similar to how you rate a film on digital platforms - 👍 (Like), 👌 (It’s just okay),  or 👎 (Dislike)

Reviewed by Joseph B Mauceri

[lucortiz]

Rouille 0 Sculpture de Bernar Venet Le Muy (à Venet Foundation) https://www.instagram.com/p/CKJgbcrMaye/?igshid=xf0dep2uabub

[mrb33]

Cass Sculpture Foundation

A visit on 15 August 2019

Some favourites:

David Brooks - Sketch of a Blue Whale 2012

Olaf Breuning - Clouds

Rodney Bender - The Return 2012

Song ta - Why do they never take colour photos? 2016

Danny Lane - Stairway 2005

Lynn Chadwick  - Diamond 1984

Lu Pingyuan - Ghost Trap 2016

Bernar Venet - Four Interminate Lines 2012

Jake and Dino Chapman - The meek shall inherit the earth but not the mineral rights 2007

[universomovie]

Hubert de Givenchy morreu aos 91 anos

No sábado, 10/03, o mundo fashion perdeu um de seus símbolos. Hubert de Givenchy, o fundador da maison que leva seu nome e que hoje conta com o estilo assinado por Clare Waight Keller, morreu aos 91 anos.

Seu nome ficou reconhecido internacionalmente via um ícone fashion: Audrey Hepburn, que ele conheceu antes das filmagens de “Sabrina“. Na trama, a personagem de Audrey (que dá nome ao longa) volta de Paris bem sofisticada, e precisa de um figurino à altura pra simbolizar isso. A atriz deu um balé na superfigurinista Edith Head e foi dar uma olhada nos novos nomes de Paris. Monsieur Givenchy, por sua vez, quando ouvir que a mademoiselle Hepburn ia visitá-lo, achou que ia encontrar… Katharine Hepburn, que já era uma superestrela de Hollywood na época. Deparou-se com Audrey, e nascia uma parceria que a transformaria num mito da elegância: Hubert não só a vestiu em diversos filmescomo também fora das telonas. “As roupas dele são as únicas nas quais sou eu mesma. Ele é muito mais que um costureiro, ele é um criador de personalidade”, a atriz viria a declarar. Ah, o figurino de “Sabrina” ganhou o Oscar, mas quem subiu pra pegá-lo e agradecer… foi Head. E ela nem citou Hubert!

Nascido em Beauvais, Hubert se mudou pra Paris aos 17 anos pra estudar na École des Beaux-Arts. A primeira casa de alta-costura na qual trabalhou foi a de Jacques Fath, e em Lucien Lelong esteve lado a lado com outros dois grandes nomes que também viriam a abrir casas próprias posteriormente: Christian Dior e Pierre Balmain. Mas o trabalho em que mais se desenvolveu nesses primeiros anos foi na Schiaparelli, de 1947 a 1951. Um dos mais jovens estilistas de Paris, abriu a maison Givenchy com 25 aninhos! E o primeiro grande hit foi a blusa Bettina, cheia de babados na manga, em homenagem à top da época, Bettina Graziani. Dois anos depois, em 1954, ele lançava uma linha de prêt-à-porter de luxo.

E sabe de quem Hubert era melhor amigo? Cristóbal Balenciaga. Quando Cristóbal se aposentou de maneira um tanto abrupta, aliás, Hubert herdou várias de suas clientes – Mona von Birsmarck, por exemplo. Era ele quem cuidava da Balenciaga Foundation e do acervo. “Balenciaga era minha religião”, disse uma vez.

O estilista se aposentou das passarelas em 1995 (confira o último desfile no YouTube). Um pouco antes, em 1988, o grupo LVMH adquiriu a divisão de moda. A divisão de perfumes ficou por um tempo com a Veuve Clicquot, mas hoje tudo (inclusive o champanhe em si) faz parte do LVMH! Em vida, Hubert viu sua marca passar pela mão de 5 criadores: John Galliano, Alexander McQueen, Julien Macdonald, Riccardo Tisci e Keller. Segundo Philippe Venet, o marido de Hubert, ele morreu enquanto dormia. A marca que ele fundou soltou uma declaração oficial: “A casa Givenchy está triste em comunicar a morte do fundador Hubert de Givenchy, uma grande personalidade do mundo da alta-costura francesa e um cavalheiro que simbolizou a elegância parisiense por mais de meio século. Ele vai fazer uma falta imensa”. RIP.

A eterna musa: Audrey Hepburn!

Audrey vestiu Givenchy pela primeira vez nas telas em “Sabrina”, de 1954. Esse decote quadrado ficou conhecido como Sabrina!

E em “Bonequinha de Luxo”, a reinvenção do pretinho básico da Chanel: virou uma das imagens mais icônicas do cinema e da moda

Quando abriu a maison nos anos 50, Hubert tinha um toque mais moderno que seus colegas

Inclusive de costas!

Hubert continuou vestindo Audrey até a morte dela, em 1993

Ele lançou alguns looks arquitetônicos a exemplo de seu grande amigo Cristóbal Balenciaga, como o casaco balão…

Hubert de Givenchy morreu aos 91 anos

O vestido baby doll…

E o vestido-saco!

Brincava com modelagem e silhuetas…

E ao mesmo tempo tinha uma imagem supersofisticada

A blusa Bettina, com esses babados na manga, apareceu na primeira coleção da sua maison homônima e virou um ícone da marca

Ela seguiu bem sofisticada mas conversando com novas épocas nos anos 70…

E 80! Parece até algo da Gucci de Alessandro Michele, n��? Mas é um original Givenchy oitentista!

Depois de sair, Hubert viu alguns criadores assumirem a marca como John Galliano (na foto, a modelo brasileira Shirley Mallmann)

Alexander McQueen (esse terninho branco com um torcido no meio, usado por Stella Tennant no desfile, virou um ícone)

Julien Macdonald (aqui, na transparência usada por Shalom Harlow, uma citação à blusa Bettina nos babados das mangas)

Riccardo Tisci (que trouxe a Givenchy pro tapete vermelho das celebridades entre os anos 2000 e 2010)

E Clare Waight Keller, que assumiu a marca em 2017

Hubert de Givenchy morre aos 91 anos No sábado, 10/03, o mundo fashion perdeu um de seus símbolos. Hubert de Givenchy, o fundador da maison que leva seu nome e que hoje conta com o estilo assinado por 

[teamcolorful]

Yves Klein and International Klein Blue

From a description of a blue monochrome painting by Klein from the Museum of Modern Art in New York:

“Monochrome abstraction—the use of one color over an entire canvas—has been a strategy adopted by many painters wishing to challenge expectations of what an image can and should represent. Klein likened monochrome painting to an "open window to freedom." He worked with a chemist to develop his own particular brand of blue. Made from pure color pigment and a binding medium, it is called International Klein Blue. Klein adopted this hue as a means of evoking the immateriality and boundlessness of his own particular utopian vision of the world.”

Images from top:

international Klein blue

Table Bleue, 1961 by Yves Klein

The Venet Foundation in Le Muy is had a show this past summer to celebrate its fifth anniversary and the 90th anniversary of Yves Klein’s birth. The exhibition titled “Pure Pigment” is devoted to Yves Klein and features a vast installation of pigments applied directly on the floor covering 200 square meters of the foundation. This is an installation shot of the show.

[ftnbooks-blog]

Andre Emmerich was an exceptional art dealer. Robert Motherwell introduced Emmerich to “the small group of eccentric painters we now know as the New York Abstract Expressionist School”. During the second half of the 20th century the Emmerich Gallery was located in New York City and since 1959 in the Fuller Building at 41 East 57th Street and in the 1970s also at 420 West Broadway in Manhattan and in Zürich, Switzerland.

The gallery displayed leading artists working in a wide variety of styles including Abstract Expressionism, Op Art, Color field painting, Hard-edge painting, Lyrical Abstraction, Minimal Art, Pop Art and Realism, among other movements. He organized important exhibitions of pre-Columbian art and wrote two acclaimed books, “Art Before Columbus” (1963) and “Sweat of the Sun and Tears of the Moon: Gold and Silver in Pre-Columbian Art” (1965), on the subject.

In addition to David Hockney, and John D. Graham the gallery represented many internationally known artists and estates including: Hans Hofmann, Morris Louis, Helen Frankenthaler, Kenneth Noland, Sam Francis, Sir Anthony Caro, Jules Olitski, Jack Bush, John Hoyland, Alexander Liberman, Al Held, Anne Ryan, Miriam Schapiro, Paul Brach, Herbert Ferber, Esteban Vicente, Friedel Dzubas, Neil Williams, Theodoros Stamos, Anne Truitt, Karel Appel, Pierre Alechinsky, Larry Poons, Larry Zox, Dan Christensen, Ronnie Landfield, Stanley Boxer, Pat Lipsky, Robert Natkin, Judy Pfaff, John Harrison Levee, William H. Bailey, Dorothea Rockburne, Nancy Graves, John McLaughlin, Ed Moses, Beverly Pepper, Piero Dorazio, among others.

Between 1982-96, Emmerich ran a 150-acre sculpture park called Top Gallant in Pawling, New York, on his country estate that once was a Quaker farm. There he displayed large-scale works by, among others, Alexander Calder, Beverly Pepper, Bernar Venet, Tony Rosenthal, Isaac Witkin, Mark di Suvero and George Rickey, as well as the work of younger artists like Keith Haring. Many of the above mentioned artists are available with different publications at www.ftn-books.com

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, but FTN books also has some specific Emmerich publications available.

In 1996, Sotheby’s bought the Andre Emmerich Gallery, with the aim of handling artists’ estates. One year later the Josef and Anni Albers Foundation, the main beneficiary of the Albers’ estates, did not renew its three-year contract.The gallery was eventually closed by Sotheby’s in 1998.

André Emmerich (1924-2007) Andre Emmerich was an exceptional art dealer. Robert Motherwell introduced Emmerich to "the small group of eccentric painters we now know as the New York Abstract Expressionist School". 

[jeremystrele]

A Rare Visit To New Zealand’s Gibbs Farm Sculpture Park

A Rare Visit To New Zealand’s Gibbs Farm Sculpture Park

Art

by Sally Tabart

‘Te Tuhirangi Contour’ (1999-2001), Richard Serra. Photo – David Hartley.

‘Horizons’ (1994), Neil Dawson. Photo – David Hartley.

‘Red Cloud Confrontation in Landscape’ (1996), Leon van den Eijkel. Photo – David Hartley.

‘Arches’ (2005), Andy Goldsworthy. Photo – David Hartley.

‘Jacob’s Ladder’ (2017), Gerry Judah. Photo – David Hartley.

‘88.5° ARC x 8’ (2012), Bernar Venet. Photo – David Hartley.

‘Dismemberment, Site 1’ (2009). Anish Kapoor. Photo – David Hartley.

‘A Fold In The Field’ (2013), Maya Lin. Photo – David Hartley.

‘Floating Island of Immortals’ (2006), Zhan Wang. Photo – David Hartley.

Gibbs Farm is a world-class sculpture park founded by business magnate and art philanthropist Alan Gibbs who, among many things, is known for pioneering high-speed amphibious vehicle technologies. An hour north of Auckland, set amongst rural farmland, the splendour of the natural location is awe-inspiring, and the scale is impossible to describe. Undulating grassy hills extend as far as the eye can see, at its peak overlooking the shallow Kaipara harbour (the largest in the Southern Hemisphere). This vista occupies the entire western horizon. While the land encompassed by Gibbs Farm is not suitable for farming, the traditional foundation of the New Zealand economy, the yield of this soil is a series of massive sculptures by some of the world’s most respected artists. Perched upon hilltops, emerging from gulleys and erupting from lakes, the spectacular works appear to have sprung from the earth itself. ‘We push the limits,’ founder Alan Gibbs said in an interview with curator Rob Garrett, ‘No sane person would do what we’re doing.’ And I haven’t even mentioned the ‘Farm’ animals yet, including zebras, giraffes, water buffalo and emus that freely roam the property. First purchasing the Gibbs Farm land in 1991, Alan has certainly amassed sculptures from the cream of the crop over half a century of collecting. Working alongside architect Noel Lane, Alan and his team have commissioned site-specific works from world-renowned artists including Anish Kapoor, Andy Goldsworthy, Marijke de Goey, Richard Serra and Maya Lin – to name just a few. Though many have heard almost mythically proportioned tales of Gibbs Farm (one staff member quietly hinted to a full-scale Old West style town hidden within the depths of the Farm), to actually sight the sculpture park is a rare privilege. While there is no fee for visiting the Farm, Gibbs Farm is open monthly by prior appointment only to artists, educational institutions, charities and the public. Best explored on foot, visitors are free to move throughout the property, although it would take at least an entire day to see everything (well, everything that we know of!).  Stephanie Post, the co-director of the Auckland Art Fair who organised my visit to the elusive park, contextualised the gravity Gibbs Farm has for New Zealand. ‘…this extraordinary landscape has inspired some of the great contemporary artists of our time to make some of their most outstanding site-specific abstract sculptural works, in response to the place and time,’ she explains to me, ‘Gibbs Farm reminds me that while New Zealand is a small country, on the edge of the map, as it is currently drawn, there is no reason why expectations cannot be exceeded, the best bettered, and experiences like no other created.’

[seagull-astrology]

Hubert de Givenchy, the French couturier of quintessentially romantic elegance in fashion for more than four decades, died on Saturday at his home outside Paris. He was 91. Philippe Venet, his longtime companion and a former couture designer, confirmed the death.

He had been the designer of Jacqueline Kennedy Onassis, Grace Kelly and memorably Audrey Hepburn, in a little black dress, in the movie “Breakfast at Tiffany’s.”   He was a devout Protestant, and  regarded his talents as a gift from God through the vehicle of Cristóbal Balenciaga.  In 1911 he founded a foundation for his mentor in Getaria, Spain.

Since his retirement from fashion in 1995, Monsieur de Givenchy remained active in the arts as an antiques expert for Christie’s, the Château de Versailles and the Louvre museum. He maintained several residences, including an hôtel particulier  (a residence inn)  decorated with paintings by Matisse and Picasso in Paris and an exceedingly grand chateau in France, the 16th-century Manoir du Jonchet. Its gardens were designed “as a delicate piece of embroidery,” he once said, describing a collaboration with one of his many longtime friends and clients, the American philanthropist Bunny Mellon (aka Rachel Mellon).

                                  Counting the  early years

Count Hubert James Marcel Taffin de Givenchy was born on Feb. 21, 1927, in Beauvais, France, the younger of two sons of Béatrice Badin,  known as Sissi, and Lucien Taffin de Givenchy, the marquis of Givenchy. His mother’s family was well connected with the great tapestry artisans of Beauvais, and his father’s had been ennobled in the 18th century (before the French Revolution).

Beauvais tapestry, several the several images above, was made at the  tapestry factory in Beauvais, Fr., established by two Flemish weavers, Louis Hinart and Philippe Behagle.  While it had the patronage of Jean-Baptiste Colbert, the finance minister to Louis XIV, and was heavily subsidized by the state, it was  a private enterprise.

The major difference between it and  the Gobelins factory was that the latter manufactured only for the Royal House while Beauvais produced for export and wealthy nobels:   similar in spirit to Givenchy’s couture house.

His last collection in 1995

After Lucien died of influenza in 1930, Hubert and his brother, Jean Claude, were brought up by their mother and maternal grandparents. He was introduced to the fine craftsmanship of textiles at an early age and when Hubert was 10, the family visited a Parisian fair, organized by the couturier Jeanne Lanvin, which included a display of fashions by Chanel, Elsa Schiaparelli  among others. It was a moment that Monsieur Mr. Givenchy later remembered as inspiring his career.

“It was my dream to be a dress designer, and my mother accepted that decision,” he recalled during a talk at the Oxford University Union in 2010.

At 17, he left for Paris to study at the École des Beaux-Arts. The next year, through his family’s connections, he began an apprenticeship with the innovative couturier Jacques Fath. In short order, he went on to work in the studios of Robert Piguet, a Swiss designer known for his rigorous organization and devotion to classical elegance, in 1946, and Lucien Lelong the same year, after Christian Dior had left that house to establish his own.

Hepburn, her Yorkie and the Givenchy chapeau.

The Charts

Like many notables in the past few months, Monsieur de Givenchy passed with his third solar return — see the yellow chart above.  The outer ring is the return wheel while the inner is our rectified chart shown also solely below.

de Givenchy’s is like Dr. Frank’ls a Stalled Locomotive, and while he is much younger than the Austrian, both had their lives interrupted by World War II  — Frankl in a concentration camp in Auschwitz and Givenchy by the Vichy government.  We have drawn out the Grand Trine, using once again, Vesta the asteroid of dedication and personal philosophy for one of its legs.

  In Givenchy’s chart, the two major planets are the Sun in the seventh house, depicting the importance other people and his relationships were to his career and Pluto, which incidentally was found just a three short years, almost exactly, after his birth.

His Ascendant at 10 Virgo highlights that he was industrious, sociable and generous.  The mother in the second house of personal resources obviously hearkens back to his mother’s familial traditions that so impressed him, while Saturn in the fourth house highlights his deep faith and conjunct Ceres, how that was demonstrated by his care for people and things in his life.

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de Givenchy succumbs to the 3rd Saturn return Hubert de Givenchy, the French couturier of quintessentially romantic elegance in fashion for more than four decades, died on Saturday at his home outside Paris.

[titoslondon-blog]

New Post has been published on Titos London

#Blog New Post has been published on http://www.titoslondon.co.uk/from-calder-to-koons-the-growing-demand-for-wearable-art/

From Calder to Koons, the growing demand for wearable art

When Artists’ Jewellery: From Calder to Koons opens at the Musée des Arts Décoratifs (MAD) on March 7, it marks not only a curatorial coup, but the apotheosis of a burgeoning market. Conceived by Diane Venet, a leading collector of artist-made jewellery, and Karine Lacquemant, assistant curator of the modern and contemporary department at MAD, the show will feature 258 pieces created by 150 different artists. Many of the pieces will be displayed alongside original artworks by the same artist for the first time—a feat made possible by the museum’s vast collection and Venet’s extensive connections in the art world, which has resulted in a number of significant loans. By presenting jewellery alongside other art forms, the exhibition’s design—realised by interior architect Antoine Plazanet and graphic designers ÉricandMarie—makes a powerful statement about their intellectual and artistic value.

“My aim was to explain definitively that artist jewellery is art and not jewellery,” Venet tells Vogue over the phone from Paris a week before the show opens. “An artist is doing jewellery, most of the time, for the woman they love or [for] a great friend, but it’s always related to their main work,” the collector and curator continues. “It’s not a miniature of what they’re doing big, but it’s definitely inspir[ed], so that when you see the jewellery you recognise immediately who is it from.” Venet’s selection includes Niki de Saint Phalle’s tapestries and the artist’s Nana brooch—a wearable version of the vibrantly coloured, voluptuous female figures she started creating in 1964, some of which measured more than five metres—as well as Wim Delvoye’s pigskin tattooed with an image of Christ, which inspired his “Jesus Twisted” necklace comprising eight pendants of contorted effigies—a very different exploration of the same subject.

Discovering that renowned artists with such disparate styles as Pablo Picasso, Lucio Fontana and Andy Warhol designed jewellery may still be a surprise to many, but in the last few years the market for wearable art has rocketed, with auctions multiplying and prices soaring well above their estimates. In exceptional cases, including an edition of Salvador Dali’s The Eye of Time brooch and an Alexander Calder necklace, prices have surpassed the million dollar mark. According to Louisa Guinness, whose eponymous gallery in London has one of the most comprehensive collections of artist-made jewellery, the demand is a consequence of generational differences and a result of collectors and gallerists’ tireless promotional work through exhibitions, art fairs and books.

“A lot of this jewellery was made in the ’40s, ’50s, ’60s and ’70s and the people who owned it are leaving it to the next generation,” explains Guinness, gesturing towards a stack of wooden boxes containing numbered pins designed by Max Ernst, which she has just acquired. “The people who inherited it don’t want it. They want to sell, which is exactly what’s happened with this collection. So that’s when people come to me or it comes up at auction.”

For Imogen Kerr, associate director of Impressionist and Modern Art at Christie’s, market growth goes hand-in-hand with a general increase in people’s appreciation of art outside the more traditional disciplines of painting and sculpture. “It’s quite a contemporary audience that looks at these works and thinks about how they can actually wear art as jewellery,” says Kerr. “People are looking at the way art and design are intertwined, at the intersection of those practices, and are in a place where they can appreciate artworks in applied art form.”

This appreciation of art has long manifested itself in fashion. Collaborations between designers and fine artists have existed since at least 1911, when French couturier Paul Poiret commissioned Fauve artist Raoul Dufy to make woodcut designs for his fabrics, but recently their commercial appeal has boomed. 2017 saw the release of Jeff Koons Masters collection for Louis Vuitton; a collaboration between Andres Serrano and Supreme; looks illustrated by the likes of Unskilled Worker and Angelica Hicks on the Gucci runway, and the ongoing creative partnership between Sterling Ruby and Raf Simons at Calvin Klein. The growing interest in the symbiotic relationship between art and fashion is perhaps fed by a desire for exclusive limited editions and capsule collections as a means of expressing individual style.

At the same time, designers and consumers are eager to explore new shores. “The world of fashion and design is so exhausted. There is only so much creativity, you need to have more input,” says Guinness, who has noticed the pivotal change of attitude from the industry. “[They] did not accept or understand a lot of the artist jewellery world,” she tells Vogue. “[Now] they are like sponges, absorbing the creativity of the artists who challenge the boundaries of conventional design.” Artist-designed/made jewellery has already debuted on the runway, with Maria Grazia Chiuri enlisting Claude Lalanne for Dior Haute Couture in January 2017 and Victoria Beckham including Emily Young’s creations in her Autumn/Winter 2017 show (all jewellery was loaned by Guinness).

Artists’ jewellery is prized for its unique and conceptual value, so it’s intrinsically wary of mass production, however there are parallels with the fashion industry. “The price range is for everyone,” argues Elisabetta Cipriani, who commissions contemporary artists to make jewellery through her gallery in London. Her pieces, created by the likes of Ai Weiwei, Enrico Castellani and Adel Abdessemed, go from £1,000 to over £100,000. “If you have the means, the character and are intellectually sophisticated, this is the jewellery for you. ”

It’s a sentiment shared by Guinness, who believes there is still some educating to be done around the value of artist’s jewellery. “One of the things that I do get upset about is when someone comes into the gallery carrying a £20,000 Hermes handbag and they say they can’t afford a £5,000 Anish Kapoor,” she laments. “I say, ‘well ditch the bag.’”

1/10 Diane Venet

Image: Damian Noszkowicz

Brooch, Niki de Saint Phalle, 
1973 -1974

Image: Sherry Griffin/ Niki Charitable Art Foundation Adagp, Paris

Brooch, Salvador Dalí, 1957

Image: Fundació Gala- Salvador Dalí Adagp, Paris, 2018

Jacqueine De Jong

Image: Courtesy of Elisabetta Cipriani Gallery

Elisabetta Cipriani

Image: Courtesy of Elisabetta Cipriani Gallery

Enrico Castellani

Image: Courtesy of Elisabetta Cipriani Gallery

Lampshade Earrings, Man Ray, 1970

Image: Courtesy of Louisa Guinness Gallery

Brass Necklace, Alexander Calder, 1950

Image: Courtesy of Louisa Guinness Gallery

White Slash Bracelet, Lucio Fontana

Image: Courtesy of Louisa Guinness Gallery

Gold Spider Brooch, Louise Bourgeois, 1996

Image: Tom Carter/ Courtesy of Louisa Guinness Gallery

“Artists’ Jewellery: From Calder to Koons” opens on March 7 at the Musée des Arts Décoratifs, Paris

The post From Calder to Koons, the growing demand for wearable art appeared first on VOGUE India.

[petersheltonblog]

"Almost Green," Larry Bell's wonderful new colored plate glass work at the the Bernar Venet Foundation, Cannes, France. #sculpture #contemporaryart #contemporarysculptor #contemporarysculpture #petersheltonscuptor #petersheltonsculpture @petersheltonsculptor @petershelton.com @petershelton #larrybell Photo by Oliver Bell. (at Cannes, French Riviera, France)

[petersheltonblog]

“Almost Green,” Larry Bell's wonderful new colored plate glass work at the the Bernar Venet Foundation, Cannes, France. #sculpture #contemporaryart #contemporarysculptor #contemporarysculpture #petersheltonscuptor #petersheltonsculpture @petersheltonsculptor @petershelton.com @petershelton #larrybell

Photo by Oliver Bell. (at Cannes, French Riviera, France)

[petersheltonblog]

“Almost Green,” Larry Bell's wonderful new colored plate glass work at the the Bernar Venet Foundation, Cannes, France. #sculpture #contemporaryart #contemporarysculptor #contemporarysculpture #petersheltonscuptor #petersheltonsculpture @petersheltonsculptor @petershelton.com @petershelton #larrybell

Photo by Oliver Bell. (at Cannes, French Riviera, France)

[petersheltonblog]

“Almost Green,” Larry Bell's wonderful new colored plate glass work at the the Bernar Venet Foundation, Cannes, France. #sculpture #contemporaryart #contemporarysculptor #contemporarysculpture #petersheltonscuptor #petersheltonsculpture @petersheltonsculptor @petershelton.com @petershelton #larrybell

Photo by Oliver Bell. (at Cannes, French Riviera, France)