Written by 5:28 pm Travel Views: [tptn_views]

How Does a Day Job Affect an Artist’s Work? This Exhibition Has an Idea

The Hawaii-born artist Toshiko Takaezu was known for her ceramic works that redefined the genre with their “closed forms,” as she called them — sealed vessels whose hidden interior spaces were meant to activate the imagination. Next month, Takaezu’s life and work might be the main target of a serious retrospective on the Noguchi Museum in Long Island City, Queens. “Toshiko Takaezu: Worlds Within” will present over 150 pieces from private and public collections across the country, co-curated by the art historian Glenn Adamson, the museum curator Kate Wiener and the composer and sound artist Leilehua Lanzilotti. (A 368-page monograph, published in collaboration with Yale University Press, will accompany the exhibition.) Visitors will have the option to see a set that spans seven a long time of Takaezu’s profession, from her early student work in Hawaii within the Forties to immersive, monumental ceramic forms she produced within the late Nineties to early 2000s. “Takaezu was also a weaver and painter, and infrequently constructed multimedia installations where her ceramics, textiles and paintings operated together,” says Wiener. To play off this concept, the curators organized the show chronologically, incorporating each of those media into various sections, inspired by Takaezu’s own installations. Sound can even play a job. In her ceramic pieces, Takaezu would often place a dried fragment of clay inside her closed form vessels, making a musical rattle. For this exhibit, Lanzilotti (a finalist for the 2022 Pulitzer Prize in music) has developed a series of videos offering insight into the sonic elements of Takaezu’s work — and visitors can hear those rattles firsthand via an interactive display. From March 20 to July 28; noguchi.org.

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In 2015, the chef and cookbook creator Emma Hearst and her husband, the chef and farmer John Barker, moved from Manhattan to upstate New York, intent on cultivating the restaurant-quality produce they found difficult to source locally. They founded Forts Ferry Farm, a 100-acre spread in Latham, N.Y., together with Barker’s brother, the artist and photographer Jamie Barker. The farm now grows greater than 250 varieties of vegetables, fruits, herbs and flowers, that go into the prepared foods, honey and condiments which are sold on the Troy Waterfront Farmers Market and online. The next phase within the farm’s development is a physical store, Farm Shoppe, a 50-minute drive south in bustling Hudson. The whimsical space, which opened in early February, has sea foam green partitions and handmade wood treillage. Its shelves are stocked with seasonal produce and flowers, the farm’s popular hot pepper sauces and a tightly edited collection of antique table goods including terrines, serving platters and ceramic pitchers. Later this summer, look out for open-air shopping in the shop’s soon-to-be-completed backyard. fortsferryfarm.com.

From the jungles of Brazil (Inhotim) to the ranch lands of Montana (Tippet Rise Art Center) and historic estates in France (Château La Coste), art parks are popping up in unexpected places all around the world. In Jaipur, India, the Sculpture Park on the Madhavendra Palace, which opened in 2017, debuted its fourth exhibition at the tip of January. Peter Nagy, an American who has run the contemporary gallery Nature Morte in New Delhi for greater than twenty years, curated the show, bringing together a dozen artists to exhibit their work throughout the apartments of the palace, which itself is about throughout the 18th-century Nahargarh Fort. In the open air courtyard, the Berlin-based artist Alicja Kwade has installed “Superposition,” an arrangement of polished stone spheres, bronze chairs and mirrors. Nagy says Kwade was intrigued by the architecture of the palace, which was accomplished in 1892 as a pleasure retreat for the Maharajah Sawai Madho Singh II. There is a posh of similar apartments, each meant for one in all his multiple wives; wandering through them is like encountering “a maze of architectural doppelgängers,” says Nagy, noting Kwade’s oft-visited themes of reflection and illusion. The Fourth Edition of the Sculpture Park is on view through Dec. 1, instagram.com/thesculptureparkjaipur.

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The southern French seaside town of Hyères could also be best generally known as an incubator for fashion talent: for the past 39 years, it has hosted the International Festival of Fashion, Photography and Fashion Accessories. But locals remember its history as a coveted destination for Europeans within the Mediterranean within the late nineteenth century — one which declined within the Twenties because the economy reeled from World War I and interest shifted toward then-emerging destinations like Nice. When the restaurateur and hotelier David Pirone opened Le Marais Plage, a beach club and Italian restaurant, in 2013 and La Reine Jane hotel in 2017, it was to fulfill growing demand from festivalgoers and put his hometown back on the travelers’ map. Next month, he plans to open Lilou Hôtel in one in all the last remaining original Hyères hotel properties from 1870. The interiors have been reimagined by Kim Haddou and Florent Dufourcq, the winners of the Van Cleef & Arpels grand prize on the 2018 Design Parade Toulon. The designers eschewed the terra-cotta touches which are common in Provençal interiors, opting as an alternative for soft-hued natural materials akin to cork floors and burl wood furnishings. Trellises hark back to early Twentieth-century winter gardens, and the usage of arched doorways and boiserie in certain rooms recall the town’s historic Moorish villa from the nineteenth century. Even the artwork has an area touch, with pieces chosen in collaboration with Jean-Pierre Blanc, the founding father of the style festival and director of the modernist residence turned art center Villa Noailles. Lilou Hôtel opens March 29, rooms from $130, lilouhotel.fr.

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Did that the sculptor Larry Bell, famous for his poetic glass boxes, began working with the fabric only after he dropped a bit of glass while working at a frame shop in Burbank, Calif.? Or that Jeffrey Gibson, the artist representing the United States on the Venice Biennale in April, got his start as a visible merchandiser on the Ikea store in Elizabeth, N.J.? What about how the minimalist pioneer Sol LeWitt worked as a receptionist at New York’s Museum of Modern Art while Dan Flavin ran the elevator? The impact that traditional nine-to-fives have on artists’ creative output is the topic of a refreshing, insightful exhibition opening on the Cantor Arts Center at Stanford University on March 6. (The show originated on the Blanton Museum in Austin, Texas, last yr; the lineup has grown to incorporate additional figures from California.) Divided into seven sections representing industries populated by artists, akin to fashion and caregiving, the show presents a variety of artworks, from a LeWitt wall drawing to Gibson’s “People Like Us” (2018), an elaborate garment hanging as if in a window display. To research the show, the curator Veronica Roberts polled nearly 100 colleagues to piece together a history of art and labor that had by and huge not been written. “We make it really hard to be a creative person on this country,” Roberts says. “Being an artist is so not someone sitting in a beret, smoking, having an epiphany. Inspiration can come from really mundane moments.” “Day Job” is on view on the Cantor Art Center at Stanford University through July 21, museum.stanford.edu.

If you’ve recently logged on to TikTok or watched a fashion show, you’re likely aware of the present obsession with bows. Terms like “cottagecore” and “coquette” — referring to types of dress that make liberal use of bonnets, corsets and, yes, bows — have turn out to be inescapable in certain corners of the web, while bows have taken over screens and catwalks alike. (Prada’s fall 2024 women’s wear show recently opened with a knee-length shift dress festooned with, by my count, no less than 27 black bows.) “Untying the Bow,” a latest exhibition on the Museum at FIT in New York, goals to trace the history and decipher the impact of the inescapable adornment. Curated by graduate students from the varsity’s masters program for fashion and textile studies, the show features 50 era-spanning garments and accessories. Silk brocade stays from around 1750 exemplify the bow’s functional origin as an easily undoable knot to secure a bit of clothing, while ​​a Pepto pink Comme des Garçons dress from 2007 displays its decorative potential with a pair of padded bows embedded into its front bodice and right hip. The examples on this show skew toward women’s wear (as does the museum’s collection at large), though men’s wear is represented with an assortment of bow ties, an early Twentieth-century straw hat tied with a ribbon and English opera flats from the Nineteen Thirties. Why are bows so potent now? Olivia K. Hall, one in all the scholars who curated the show, says, “It’s a motif related to girlishness and innocence — it seems like a reminder that in maturity fashion can proceed to be playful.” “Untying the Bow” is on view from March 1 to March 24, fitnyc.edu/museum.

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