PaperCity Magazine

May 2017 - Houston

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74 experimenting with new techniques, because they are a source of invention for new works like the ones on view at my exhibition at the Sicardi Gallery — the Physichromies and Inductions du Jaune. On Houston's role in your career in the U.S. The exhibition "Inverted Utopias: Avant- Garde Art in Latin America" at the Museum of Fine Arts, Houston in 2004 was highly important in helping spread my ideas in the U.S. It was during its preparation that I "ARTISTS DO NOT HAVE TYPICAL WORK SHIFTS. INSTEAD, WE EXIST IN A PERMANENT STATE OF THE CREATIVE PROCESS." — Carlos Cruz-Diez met [MFAH Latin American curator] Mari Carmen Ramírez and [gallerist] María Inés Sicardi. Then in 2011, I presented my retrospective exhibition "Color in Space and Time" curated by Mari Carmen, which had a great turnout and went on to tour several museums in Latin America. Gazing ahead. Fortunately, I have many upcoming exhibitions and projects. I am making several architectural integrations in France, Spain, and Latin America. For example, in Madrid there is a residential building, near Plaza de Cibeles, where we are working on its access and walking areas, the elevator, and the interior of each apartment. It is a full integration. I have just opened shows in Hong Kong, at the SCAD Museum of Art in Savannah, and soon in Houston at the Sicardi Gallery [this May]. I was also invited to be a part of "Pacifi c Standard Time: LA/LA" in Los Angeles [at the Los Angeles County Museum of Art], an ambitious series of exhibitions that starts this September. Beware of … As we are on the cusp of a new civilization, there are many things that come across as art but are simply merchandise. What you're dreaming about that will startle, inspire, and embrace the public. I am very satisfi ed [already], because new generations can see and enjoy my artistic proposals. I think I must have lived for decades in a blind society because people did not see what was so obvious: the sight of color appearing and disappearing in front of you. The secret to longevity in the art world — and in life. To do exactly what everyone else says I shouldn't do. And I enjoy family, friendships, good food, reading, music, and analyzing, and my work. "Carlos Cruz-Diez:," opening Thursday, May 25, through August 24, at Sicardi Gallery, sicardi.com. For an expanded version of this story, go to PaperCityMag.com. (continued from page 16) Carlos Cruz-Diez's Transchromie Dames A, 1965/2009, at Sicardi Gallery COURTESY THE ARTIST AND SICARDI GALLERY EVERYTHING PARSE THE MOST BEAUTIFULLY DECORATED ROOMS, AND YOU'LL NOTICE A RECURRING ELEMENT, A TALISMAN OF SORTS — A CHRISTOPHER SPITZMILLER LAMP (OR TWO). BY ANNE LEE PHILLIPS I S I L L U M I N AT E D Christopher Spitzmiller fi rst delved into pottery during boarding school in New Hampshire and began his career as a ceramicist in Georgetown after graduating from the prestigious Rhode Island School of Design. In the summers, he served as an artist- in-residence in a back room of Southampton's Mecox Gardens, molding clay on the wheel and attracting boldfaced designer names, who would soon become cult followers. The late Albert Hadley commissioned his work and along the way became Spitzmiller's longtime mentor. The late Bunny Mellon was a client, and Spitzmiller counts designers Richard Keith Langham, Suzanne Rheinstein, and Bunny Williams as friends and clients. Known for his perfect-proportioned and luscious-colored lamps, he employs a team of skilled artisans in his New York City studio to handcraft each one, with classical- inspired shapes, traditional gem-like glazes, and hand-turned 23K yellow-gold or 9K white-gold water-gilded bases. Each of these beauties will set you back $2,000 to $4,000 (fi nd them at Found and Mecox) — until now. Houston-based lighting manufacturer Visual Comfort has collaborated with Spitzmiller on a collection of lamps designed to bring his works of art to life in a production environment, which makes them more accessible and affordable. The 15 handcrafted, vibrantly glazed lamps and tole pendant lights come in a wide variety of colors; Spitzmiller describes the collection as "young, fresh, modern, and based on tradition … I try to reach a timeless audience, designing a product that will endure and enrich for years to come." Timeless, indeed — his lamps have graced the White House for the past two administrations. From $630, at Circa Lighting, 2427 Westheimer Road, circalighting.com. EVERYTHING PARSE THE MOST BEAUTIFULLY DECORATED ROOMS, AND YOU'LL NOTICE A RECURRING ELEMENT, A TALISMAN OF SORTS — A CHRISTOPHER SPITZMILLER LAMP (OR TWO). and hand-turned 23K yellow-gold or 9K white-gold water-gilded bases. Each of these beauties will set you Houston-based lighting manufacturer Visual Comfort has collaborated with Spitzmiller on a collection of lamps designed to bring his works of art to life in a production environment, which makes them more accessible and affordable. The 15 handcrafted, vibrantly glazed lamps and tole pendant lights come in a wide variety of colors; Spitzmiller describes the collection as "young, fresh, modern, and based on tradition … I try to reach a timeless audience, designing a product that will endure and enrich for years to come." Timeless, indeed — his lamps have graced the White House for the past two administrations. From Circa Lighting, 2427 Westheimer Coy lamp, and Neta lamp, right, for Visual Comfort

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