Issue link: http://papercitymagazine.uberflip.com/i/1546676
In the guest room, Maine painter Lois Dodd's Studio with Door, 1972. Late 19th-century Mongolian Kilim rug and vintage wool bedspread, both from Carol Piper Rugs. Katharine's father's vintage Corona has a place of honor. Lamp Jacques Biny, France, 1950s. Early 19th-century mahogany bowfront chest is a family heirloom. Emily Furr's Moon Grinder – Yellow, 2021, from 12.26 gallery, Dallas. "I hope our collection is fresh and unique, as every collection should be about what's not expected — but putting things together that speak to you." — Katharine Barthelme Frank details I am at a loss for that truly complete a space." Reflecting upon her favorite moment in the dialogue between art and design, Katharine singles out the family room with its extraordinary artwork. "We have a very special work by Rick Lowe in the collection, Black Wall Street Journey #12, which came out of the group show 'Social Works' in New York [Gagosian Gallery, 2021]. It's a large-scale painting that deals with the history and legacy of the 1921 Tulsa Race Massacre — reds and greens that read, to me, as blood and money. Two currencies that history never stops trading in. It's an emotionally heavy painting and needed a wall of its own. We found space in the family room, but I had no idea how to soften the environment around something that powerful. Brandon brought in an incredible antique tapestry, draped loosely over a chair — an object with its own history and depth that brought balance to the room. It takes a rare kind of designer to understand what art can actually do in a room — moving beyond matching a color palette to telling a story about the client and the home." Fontenot says, "Working with Katharine and her husband has been a process of discovery. Katharine is a collector of all things, not just art, so we were hunting partners more than anything." Asked about his favorite room,