A UFO art lands exhibit in Idaho


Viewed from Paris’s Pont de la Tournelle, the eight-story façade of the iconic La Tour d’Argent restaurant looks more or less the same as it did when its third-generation owner, André Terrail, grew up there in the 1980s, deploying paratroopers from toy in dock traffic. . But the interior is no longer indifferent to the 21st century: late last month, La Tour d’Argent reopened its doors after a year-long renovation led by Parisian architect Franklin Azzi. “It’s my Tour,” says Terrail, who took over after the death of his father in 2006. “The same, but more demanding, more reflective.” The new look draws on the enormous history of the classic French fine dining institution, which has been serving diners since 1582, taking particular inspiration from the stylized motifs of its Art Deco era. On the seventh floor, the redesigned restaurant, overseen since 2020 by executive chef Yannick Franques, functions more than ever like a theater. The spacious dining room, in shades of indigo and silver, opens onto an open-plan kitchen and a raised platform where the restaurant’s signature pressed duck dish is prepared every night. Upstairs and downstairs are new bars suitable for less formal occasions: Le Bar des Maillets d’Argent, an all-day lounge with a fireplace, and Le Toit de la Tour, a rooftop terrace. Given that it has the cozy feel of a boutique hotel, it’s no surprise that the building can now welcome overnight visitors in a private apartment on the fifth floor, with a touch of Scandinavian-style minimalism attributable, in part, to the Terrail’s Finnish mother. . tourdargent.com.

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The stars of land art, the conceptual art movement that rose to prominence in the 1960s and 1970s, have been mostly men. Think of Robert Smithson, who created “Spiral Jetty” (1970), a 1,500-foot-long spiral of basaltic rock and soil in Utah’s Great Salt Lake, or Michael Heizer, whose “Double Negative” (1969) is composed of two trenches. excavated in the Nevada desert. A new exhibition at the Nasher Sculpture Center in Dallas focuses attention on the women at the center of the movement: “Groundswell: Women of Land Art” opens next week and highlights the work of 12 female artists. Among the pieces on display will be the “Silueta” series by Cuban-American artist Ana Mendieta (1973-80), which combines body, performance and landscape in films and photographs of “Marsh Ruins” (1981) by American sculptor Beverly Buchanan, three pieces rock-like shells made of concrete and brindle (a combination of oyster shells, sand and water) in Brunswick, Georgia. Exhibition curator Leigh Arnold notes that this group took a “more subtle and more poetic” approach than their male counterparts, “expressing their desire to collaborate with nature rather than dominate it.” Take Agnes Denes’ “Wheatfield – A Confrontation,” a two-acre meadow that was planted on a former landfill near Manhattan’s World Trade Center in the spring of 1982 and harvested four months later. Like Denes wrote“It drew attention to our wrong priorities.” In addition to premiering new works by pioneering public artist Mary Miss and visual artist Lita Albuquerque, the show will include works reimagined for Nasher, such as Nancy Holt’s “Pipeline” (1986), a steel pipe structure that Holt created in response to the construction of the Trans-Alaska pipeline. “Groundswell: Women of Land Art” will be available from September 23 to January 7, 2024. nashersculpturecenter.org.

When the West Texas contemporary art museum, Ballroom Marfa, held its annual summer party in Bridgehampton, New York, home of co-founder Virginia Lebermann, last month, guests were greeted by a long table set in a forest of tulips. A dinner of Mexican-inspired dishes prepared by Chef Yann Nury was served along with tableware and decor created by Mexico City-based fashion designer and artist, Carla Fernández, in collaboration with Mexican artisans. The collection is now being sold to benefit Ballroom Marfa. A setting for four includes clay plates with a speckled black finish, speckled ceramic mugs, wooden napkin rings inspired by grinder, or the traditional chocolate shakers, ceramic creatures (two insects and 12 snakes) and a lantern with a piñata mask. Most of these designs can also be purchased separately. “You have this combination of artists, colors and techniques from different parts of Mexico,” Fernández says. “They can live together or not.” From $100 for a piñata lantern, ballroommarfa.org.

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In the third and final issue of Tools magazine, a French annual publication with a niche market but a cult following in the world of arts and design, umbrellas and striped bistro napkins are folded and unfolded, as are shops of campaign, camera bellows, paper lanterns and corrugated cardboard. ostrich feather boxes and fans. This year’s theme, “To Fold,” follows “To Mold” (2021) and “To Weave” (2022), all studies of a simple technique common to both industry and daily life. The concept makes it a magazine with the methodical determination of a trade publication and the aesthetic sensibility of an exquisite reference book, infused with bright pop tones against grainy archival still lifes. Everyday objects star on the covers and in improbable extended photo essays on topics like ruffled bed skirts and rubber shoe soles. Parisian artistic director Clémentine Berry, who heads the creative studio. Twice, founded the magazine as a personal outlet for her design practice and as a way to highlight overlooked artisans. “We place a lot of importance on intellect and higher education, but there are many people who have unique know-how because they worked for 10 years in a factory,” says Berry, who filled this issue of Tools with people who bend for all reasons, from the owner of a dry cleaner to the master fabric pleaters at Ateliers Lognon (who often work on haute couture pieces for fashion brands like Chanel) and the French military officers responsible for refolding used parachutes. The 250-page bilingual magazine, whose content is only available in print, typically sells out within weeks, but there’s always a wait for the next volume, including 2024’s “To Cut.” Available September 14, in English and French. tools-magazine.org.

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In the 43 years since George Yabu and Glenn Pushelberg founded their design studio, they have become accustomed to working within the limitations of panties for clients such as New York department store Bergdorf Goodman. However, when the duo’s latest effort arrived, they were able to let their imaginations run wild. “Our motive was to express our creativity,” says Pushelberg of Memento, a collection of seven hand-knotted rugs produced in collaboration with the Milan-based company CC-Tapis. “It was very liberating,” adds Yabu. The pair began by considering the concept of “impossible architectures,” the artwork of Giorgio di Chirico, and the fantastical structures that emerged for Expo 67 in Montreal, among other inspirations. Each of the resulting rugs plays with color, shadows and texture to create representations of these conceptual building blocks. Several rugs break free from the standard quadrilateral configuration and spill out into free forms reminiscent of a brutalist creation by MC Escher. Made by Tibetan artisans in CC-Tapis’ Nepalese workshop, each rug features the weaver’s signature stamped along the perimeter of its binding, adding a personal touch to the handmade piece. The Memento collection rugs are available in cc-tapis.com and are available by appointment only at Yabu Pushelberg in New York City from September 18 to 28, press@yabupushelberg.com.

In 2019, Courtney Gilbert, a curator at the Sun Valley Museum of Art in Ketchum, Idaho, began noticing an avalanche of news articles about UAPs (unidentified anomalous phenomena), as NASA calls UFOs. Then, during the pandemic, Gilbert says, there was a huge increase in sightings, particularly in her home state. “At one point, Idaho was the state with the most reported encounters,” she notes. Less interested in aliens than in what motivated her fellow human beings to search for other signs of life, Gilbert commissioned Chicago-based artist Deb Sokolow, known for her semi-fictional drawings and artist books, and Chicago-based painter Cable Griffith. Seattle creating works. for an exhibition, “Sightings,” which opens September 14. Those pieces will be displayed alongside the work of other artists such as Esther Pearl Watson, who, inspired by her father who once tried to build a flying saucer, often paints floating UFOs. about scenes from American life, and Karla Knight, who makes paintings and drawings of what she describes as extraterrestrial symbols or diagrams. Artist talks and astrophotography workshops will also be offered from September 14 to 16. “Sightings” will be available until December 2. svmoa.org.

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