How does a day job affect an artist's work? This exhibition has an idea


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 will be the focus of a major retrospective at the Noguchi Museum in Long Island City, Queens. “Toshiko Takaezu: Worlds Within” will feature more than 150 pieces from public and private collections across the country, co-curated by art historian Glenn Adamson, museum curator Kate Wiener, and composer and sound artist Leilehua Lanzilotti. (A 368-page monograph, published in collaboration with Yale University Press, will accompany the exhibition.) Visitors will be able to see a collection spanning seven decades of Takaezu's career, from his early student work in Hawaii in the 1940s to his immersive, monumental ceramic forms he produced between the late 1990s and early 2000s. “Takaezu was also a weaver and painter, often building multimedia installations in which her ceramics, textiles and paintings operated together,” says Wiener. To develop this idea, the curators organized the show chronologically, incorporating each of these media into several sections, inspired by Takaezu's own installations. The sound will also influence. In her pottery pieces, Takaezu used to place a dry shard of clay inside her closed vessels, creating a musical rattle. For this exhibit, Lanzilotti (a finalist for the 2022 Pulitzer Prize in Music) has developed a series of videos that offer insight into the sonic elements of Takaezu's work, and visitors can hear those jingle bells firsthand through an interactive screen. Of March 20 to July 28;

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In 2015, chef and cookbook author Emma Hearst and her husband, chef and farmer John Barker, moved from Manhattan to upstate New York, intending to grow restaurant-quality produce that had been difficult for them to grow. get locally. They founded Forts Ferry Farm, a 100-acre spread in Latham, New York, with Barker's brother, artist and photographer Jamie Barker. The farm now grows more than 250 varieties of vegetables, fruits, herbs and flowers, which are used in prepared foods, honey and condiments sold at the Troy Waterfront Farmers Market and online. The next phase in the farm's development is a brick-and-mortar store, the Farm Shoppe, a 50-minute drive south in bustling Hudson. The whimsical space, which opened in early February, has seafoam green walls and handcrafted wooden treillage. Their shelves are filled with seasonal produce and flowers, the farm's popular hot pepper sauces, and a carefully edited collection of antique tableware including terrines, serving platters, and ceramic jugs. Later this summer, you'll be able to shop outdoors on the store's soon-to-be completed backyard.

From the jungles of Brazil (Inhotim) to the ranches of Montana (Tippet Rise Art Center) and historic properties in France (Château La Coste), art parks are popping up in unexpected places around the world. In Jaipur, India, the Madhavendra Palace Sculpture Park, opened in 2017, debuted its fourth exhibition at the end of January. Peter Nagy, an American who has run the contemporary gallery Nature Morte in New Delhi for more than two decades, curated the show, which brought together a dozen artists to exhibit their works in the palace apartments, which in turn It is located in the 18th century. 19th century Nahargarh Fort. In the open-air courtyard, Berlin 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 completed in 1892 as a pleasure retreat for Maharaja Sawai Madho Singh II. There is a complex of identical apartments, each intended for one of his multiple wives; wandering through them is like encountering “a labyrinth of architectural doppelgängers,” says Nagy, highlighting the themes of reflection and illusion so visited by Kwade. The Fourth Edition of the Sculpture Park will be open until December 1,

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The coastal town of Hyères in the south of France may be best known as an incubator of 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 destination coveted by Europeans in the Mediterranean in the late 19th century, a destination that declined in the 1920s as the economy reeled from World War I and interest shifted to then-emerging destinations. like Nice. When 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 meet growing demand from festival-goers and put his hometown back in the limelight. the travelers map. Next month, he plans to open Lilou Hôtel in one of Hyères' last original hotel properties from 1870. The interiors have been reinvented by Kim Haddou and Florent Dufourcq, the winners of the Van Cleef & Arpels grand prize at the Design Parade Toulon 2018 .. The designers avoided the terracotta touches that are common in Provençal interiors and opted for soft-toned natural materials, such as cork flooring and burgundy wood furniture. The trellises date back to the winter gardens of the early 20th century, and the use of arched doorways and paneling in certain rooms recall the city's historic 19th-century Moorish villa. Even the artwork has a local touch, with pieces selected in collaboration with Jean-Pierre Blanc, founder of the fashion festival and director of the modernist residence-turned-art center Villa Noailles. Lilou Hôtel opens on March 29, rooms from $130,

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Did you know that sculptor Larry Bell, famous for his poetic glass boxes, began working with the material only after he dropped a piece of glass while working at a frame shop in Burbank, California? Or that Jeffrey Gibson, the artist who represented the United States at the Venice Biennale in April, started as a visual merchandiser at the Ikea store in Elizabeth, New Jersey? What about how minimalist pioneer Sol LeWitt worked as a receptionist at New York's Museum of Modern Art while Dan Flavin worked the elevator? The impact that the traditional nine-to-five has on artists' creative output is the subject of a refreshing and insightful exhibition opening at Stanford University's Cantor Arts Center on March 6. (The exhibit originated at the Blanton Museum in Austin, Texas, last year; the poster has grown to include additional California figures.) Divided into seven sections representing artist-populated industries, such as fashion and childcare, The show features a variety of artworks, from a LeWitt wall drawing to Gibson's “People Like Us.” ”(2018), an elaborate garment hung as if in a shop window. To research the exhibition, curator Veronica Roberts surveyed nearly 100 colleagues to piece together a largely unwritten history of art and labor. “We make it really difficult to be a creative person in this country,” Ella 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” will be on view at Stanford University's Cantor Art Center through July 21.

If you've recently logged into TikTok or watched a fashion show, you're probably aware of the current obsession with buns. Terms like “cottagecore” and “flirty” (which refer to clothing styles that make liberal use of bonnets, corsets and, yes, bows) have become inescapable in certain corners of the Internet, while bows have taken over screens and catwalks alike. (Prada's fall 2024 womenswear show recently opened with a knee-length shift dress adorned with, by my count, at least 27 black bows.) “Untying the Bow,” a new exhibition at the FIT Museum in New York, aims to trace the history and decipher the impact of the inescapable adornment. Curated by graduate students from the school's master's program in fashion and textile studies, the show features 50 garments and accessories spanning all eras. Silk brocade suspenders from around 1750 exemplify the bow's functional origin as a knot that can be easily undone to secure a garment, while a pink Pepto dress by Comme des Garçons from 2007 shows its decorative potential with a pair of bows padding embedded in its front bodice. and right hip. The examples in this show lean toward women's clothing (as does the museum's collection in general), although men's clothing is represented with a variety of bow ties, an early 20th-century straw hat tied with a ribbon and English opera flats from the 1930s. Why are bows so powerful now? Olivia K. Hall, one of the students who curated the show, says, “It's a motif associated with femininity and innocence; it seems like a reminder that in adulthood fashion can still be playful.” “Untying the Bow” will be available from March 1 to 24.

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