PaperCity Magazine

November 2019- Houston

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20 I nman Gallery continues its resurrection of historical Texas artists by elevating the work of Jana Vander Lee, who played a pivotal role in Houston during the '70s and '80s, when she merged fine art with craft via distinctive fiber creations. Vander Lee also penned critical essays and reviews (she was an authority on Anni Albers), led lectures and moderated panels, and curated. Her departure from the scene was abrupt when she started having vision problems in the '90s. With her eyesight now restored, Vander Lee, currently based in Chicago, is now represented by Inman. Her tapestries alternate between summery washes of gentle colors with a Scandinavian vibe and dramatic navy and black creations that could go in the ring with Mark Rothko or Clyfford Still. One part Calvinist decorum, another part the aesthetics of Navajo weavers with a dose of color-field abstraction, this former Texas artist's rediscovery aligns with the art world's welcome embrace of historical women artists, including Sheila Hicks and now Vander Lee, who are posed to reach a new generation with works that are thrillingly fresh and now. Tapestries $6,000 to $16,500, at Inman Gallery, Catherine D. Anspon OBSESSIONS. DECORATION. SALIENT FACTS. F ashion site The SIL, created by Natalie Bloomingdale, stocks only limited-edition or one-of-a-kind fashion that ooze style, craftsmanship, and originality — and all exclusive to the site. Now, The SIL has collaborated on a fashion capsule with The Future Perfect, a rarified online gallery of furnishings and objects. Eight of The SIL's designers contributed original pieces based on founder of The Future Perfect David Alhadeff's three-word creative brief: "The Future Perfect." The 10 resulting treasures — including a pair of hand-blown glass and freshwater- pearl earrings by Devon Pavlovits, and handbags by Scott Nelson fashioned in Kvadrat/Raf Simons mohair and bouclé — were photographed at Casa Perfect, the former home of Elvis Presley. Natalie Bloomingdale and The SIL will be in Houston November 20th and 21st, at Paloma & Co., 2705 Bammel Lane. Lisa Collins Shaddock O n Friday, November 22, Tom Ford opens the doors to its luxurious new boutique in The Galleria — a 4,000-square-foot store designed by Studio Sofield in a palette of rich browns and pale grays, located on Level 1 near Neiman Marcus. The expanded cosmetics room at the front is kitted out with the full product lines of the cult Tom Ford lineup: beauty and fragrance for men and women, and eyewear. Look for new releases: Soleil Neige lip balm, shim- mering body oil and fragrance. Macassar ebony hallways with Carrara Nuvolato marble floors lead to the accessories room, which holds women's handbags and men's luggage, with free-standing glass vitrines for watches, jewelry, and small leather goods. Here, you can get your hands on the new 001 handbag, which drops this month in several sizes, colors, and ma- terials, from smooth leather to python, with the signature T-shaped clasp. The women's and men's shoe salon leads to the men's and women's ready-to-wear collections, near the white marble fireplace. Men's suiting is housed in an adja- cent room, with a made-to-mea- sure epicenter where clients create cus- tom suits by private ap- pointment. Tom Ford, The Galle- ria, tomford. com. Anne Lee Phillips TOM FORD'S BIG MOVE ABSOLUTE PERFECTION RADICAL WOMAN + HOME FURNISHINGS AT MFAH WOVEN WORKS AT INMAN C olombian octogenarian artist Beatriz González gets her due this month at the Museum of Fine Arts, Houston, when curator Mari Carmen Ramírez co-organizes a sweeping survey spanning six decades and 130 works. Pérez Art Museum Miami partners with the MFAH in mounting this retrospective — the first for this talent in the U.S. Beyond paintings, drawings, and silkscreen prints is a series of objects that reveal González at her most inventive. Two of these iconic works — the artist's calling cards — are a repurposed dresser in Art Moderne style and a more modest coat rack of the same era, also recycled. Both are transformed by González, a member of the radical women generation of Latin American artists, by the presence of colored enamel on metal elements that depict, respectively, unforgettable images of a Madonna and child and the Mona Lisa. "Beatriz González: A Retrospective," at the MFAH, through J a n u a r y 2 0 , 2 0 2 0 ; m f a h . o r g . Catherine D. Anspon Jana Vander Lee's In a Way, 1986, at Inman Gallery Beatriz González's Gratia Plena (Tocador) (Full of Grace [Vanity]), 1971, at MFAH COURTESY THE ARTIST AND INMAN GALLERY COLLECTION MFAH, © BEATRIZ GONZÁLEZ ARCHIVES Tom Ford Fall 2019 Handbag by Scott Nelson for The SIL X Future Perfect

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