The reopening of the San Francisco Museum of Modern Art—three years in construction and now the largest American museum of its kind—is emblematic of a dramatic shift in the city's center of gravity from north to south of Market Street. SFMOMA's bet on its South of Market location more than a quarter century ago has paid off. Thanks to greatly enhanced collections, a restaurant helmed by three-Michelin-star chef Corey Lee, and Snøhetta's suave architecture, the reopened museum's destiny seems predictable: expect record growth echoing that of the two decades since the museum moved into its distinctive building designed by Mario Botta in 1995, which is now incorporated within its expanded 460,000-square-foot quarters.
For the last two years, Christo's been hard at work on the twenty-third project, to be open for a mere sixteen days, June 18 through July 3—a luminous, golden-hued floating walkway connecting the shore of the Alpine Italian Lago d'Iseo to the mountainous island that sits in the middle of it. The setting is stunning—a long, deep, narrow lake with dark blue-gray-green waters, ancient towns, and a landscape that is simultaneously lush and rugged. The project has—as is always the case with Christo—a simple, straightforward name that tells the basic story: The Floating Piers.
Sitting Pretty: Villa Cavrois is home to a new exhibition of 20th century chairs
By CLOTIDE LUCE
Until its recent restoration, Robert Mallet-Steven's Villa Cavrois was a ransacked and crumbling modernist castle, with trees sprouting inside its once ultra-sleek salons. But thanks to the advocacy of such architects as Renzo Piano and Tadao Ando, and the French government's meticulous $25 million rehabilitation, the 1932 private villa has been given a long-awaited second chance at life. Situated next to Croix, known as the capital of France's rust belt (and just a fast, one-hour train ride from Paris), the villa has drawn over 100,000 visitors since opening its doors last summer.
With showrooms in downtown Los Angeles and Beijing's 751 Design Park, Gallery ALL occupies design niches on both sides of the Pacific. The gallery was founded in 2013 by Yu Wang and Qinqyun Ma after the two men were introduced by Wang's wife, Xiao Lu, who also joined the endeavor to serve as the gallery director. The following year Gallery ALL opened its doors on the first floor of L.A.'s historic Bradbury Building to introduce Chinese design works to Western patrons.
Artist Richard Prince is no stranger to controversy. An early pioneer of appropriation art, Prince spent the 1970s and '80s undermining the necessity of authorship in art, re-photographing existing images and modifying them only minimally to make them his own. A constant target of copyright infringement and intellectual property law allegations, his creative strategy was, and still is, reliant on the subtle manipulation of content excised from popular culture, the media, commercial advertising, and the like. With an uncanny ability to transform the context and meaning of an image with a simple gesture or a minimal material intervention, Prince established himself as an expert in confiscation and concision.