Celebrate the acclaimed interior designer and historian's new book Classical Principles for Modern Design: Lessons from Edith Wharton and Ogden Codman's The Decoration of Houses, a must-have addition to every design enthusiast's library.
Eerdmans Fine Art is delighted to present Charles Plante: The Eclectic Connoisseur, a special exhibition of works on paper dating from 1650 to 1950. Viewing hours are Noon – 6pm through Wednesday, March 28.
London dealer Charles Plante of Charles Plante Fine Arts is acclaimed for his stylish and discerning eye. Since 1988, Plante has dealt in European works of art, specializing in watercolor drawings of architecture, gardens and interiors, with a particular emphasis on the neoclassical period. Throughout the range of offer, an emphasis is placed on quality, condition, authenticity and provenance, and therefore frequently meeting museum standards.
Please join us for a book signing reception for P. Gaye Tapp's acclaimed first book How They Decorated.
How They Decorated illustrates some of the great rooms of the twentieth century, whose stylish residents influence our tastes today.
Gloria Vanderbilt cleverly noted, “Decorating is autobiography.” Reflecting that truism, the interiors in this book capture the individual approaches of these icons of style: Bunny Mellon’s spare all-American elegance; Hélène Rochas’s refined sophistication; Vanessa Bell’s colorful bohemianism; Mona von Bismarck’s breezy opulence; and Georgia O’Keeffe’s earthy chic. Author P. Gaye Tapp analyzes each of her subjects’ refined way of living, how she embellished her residences (or left them elegantly stark), and the long-lasting effects on today’s generation of designers and connoisseurs of beauty.
P. Gaye Tapp is the creator and author of the highly regarded blog Little Augury and an interior designer for more than twenty-five years.
”Isabel Magowan’s pictures offer a particular view into a life of American privilege, but with an ironic, sardonic twist. Executed with technical perfection, she explores themes of self image and worth, and moments of inner clarity and subtle darkness. These heightened, saturated photographs e ortlessly blur melodrama with moments of true intimacy.”—GREGORY CREWDSON
ISABEL MAGOWAN was born and raised in Manhattan and currently lives in Brooklyn. She received a BA in History from Wesleyan University in 2011 and an MFA in Photography from Yale School of Art in 2015. Through photography and video, she attempts to unlock the impact that codified social norms have on forming the belief systems that underlie our personal interactions. Her work often addresses concepts of beauty, expectation, and being in the public eye—issues that stem from her formative experience as a child performer. She is interested in the ways in which performance and ritual mask nightmare. Her images seek to probe rather than dismiss the artificial constructs of our lives, creating ambiguities that defy easy resolution. She is a 2017 winner of the Magenta Foundation’s Flash Forward competition. Her work has been featured in numerous digital and print publications, including New York magazine, The New Yorker, and the Los Angeles Times. Among her clients are A+E Networks and Lifetime Television. Magowan’s work has been exhibited at Green Gallery (Yale School of Art), Regen Projects (Los Angeles), and Danziger Gallery (New York). Her first solo exhibition, Dress Rehearsal, is co-presented by Jane Stubbs and Emily Eerdmans at Eerdmans Fine Art, 14 East 10th Street, New York.
For some children, youth is just a dress rehearsal for something greater: artistic accolades, professional excellence, an advantageous marriage. Isabel Magowan’s first solo show, Dress Rehearsal, depicts people—mostly girls on the cusp of adulthood—whose lives and identities have been buoyed by pageantry and anticipation, but who are arriving at the moment of realizing that their expectations are structurally unsound.
Magowan’s pictures of young people are claustrophobic. The subjects either rehearse an adulthood they don’t seem to want, or they seize a sinister power whose cost they cannot yet assess. A girl gazes uncertainly into a mirror, ignoring the coquettish collar ru es that swat at her cheeks, while another stares dead-eyed at the camera in the midst of a perfect split, her mouth unyielding in spite of the childish flower perched on her chest. Most of the girls in Magowan’s images seem both practiced and eerily possessed—they’re in costume, they’re aware of the camera, and their body language is prescribed. In the only picture that appears unpoised, two girls drag their limp friend across a carpet that resembles broken glass. They could be playing a game, or dumping a body; Magowan seems to imply that one could lead to the other.
As they stare into the future, the young subjects of Dress Rehearsal would likely not see themselves in the adults that populate Magowan’s work; their vision of adulthood—the future for which these young hopefuls have rehearsed—has degraded beyond recognition. A bare-breasted woman and mannequin, both at a loss, sit side by side in abrasive morning light; a man surrounded by a rainbow of phallus-shaped lightbulbs gives the camera a sinister and seductive glance. These are adults who want to be seen as much as the children in Magowan’s images want to be seen, but it’s as though a life of inhabiting the fantasies of adolescence has left them bereft, marooned into confusion, despair, or dangerous eccentricity.
It’s fitting, then, that what all of Magowan’s subjects have in common is the risk of being devoured by their surroundings. The three girls in picnic-checker dresses, lips painted the same scarlet as the walls, seem to emanate from the room, rather than inhabit it. The bare skin of the prepubescent boy slumped in a lawn chair matches the face of the airbrushed woman on the magazine laid across his chest. To see objects and environments blending with people is menacing on its face, but each encroaching room or garment in Magowan’s work also represents a narrative into which her subjects have grown. At heart, Dress Rehearsal is about the stories we’re told—ones about success, gender, wealth, or poise—that constrict ambition, agency, and self-knowledge with catastrophic results.
SYLVIE MCNAMARA and BENNET BERGMAN, June 2017
Jane Stubbs and Emily Eerdmans are pleased to announce “Corkillage”, an exhibition of cork-applied boxes, mirrors, and objects by Marian McEvoy. The exhibition will take place May 3–25, 2017 at Eerdmans Fine Art, with an opening reception Tuesday May 2. Opening hours will be Noon to 6pm Tuesdays–Saturdays.
With a nod to tramp art, McEvoy takes wine bottle corks and acorns to build out her architectural creations in her signature color palette of natural, white, black and red. Her boxes are currently in the collection of Pierre Bergé, Alex Reece and Alison Spear, Mitchell Owens and Christopher Spitzmiller. This is the first show of Marion McEvoy’s work.
Marian McEvoy lived in Paris from 1975 to 1990, where she wrote about European fashion and design for WWD and W. She has served as editor in chief for Elle, Elle Decor and House Beautiful, and has contributed articles about style and stylish characters for the Herald Tribune, French Vogue, the World of Interiors, Domino, Vanity Fair, the Wall Street Journal and T magazine. California born, and the author of a book on the celebrated Moroccan-based Bill Willis and Glue Gun Decor, McEvoy is an ardent crafter in the Hudson Valley, where she lives in a colorful cottage.
Jane Stubbs and Eerdmans Fine Art are pleased to announce Coloring, a series of new work by artist David Colman.
Coloring explores the artist’s interest in the intersection of aesthetics and nostalgia through color theory and composition. The artist is currently focused on making and showing assemblages that probe and play with the mechanics of taste, sex, identity and nostalgia.
Colman states:“I love to poke around with slippery dualities we hold dear, like the notion that painting a canvas is profound while painting a house is superficial. I love a great painting, but I also love losing myself in a tableful of paint chips and dreaming how a new apartment or space can look and feel, that realm of potential.
“To inhabit this fantasy, I created a color system reminiscent of paint chips and the ways paint and paper lines are marketed and used by designers. The palette is inspired by master colorists such as Giorgio Morandi, Agnes Martin, Ben Nicholson, Ad Reinhardt, Hans Hoffman, George Braque, and Picasso. The system is constructed around three basic building blocks (steel, burlap and magnets). I also used my aesthetic building blocks of taste, nostalgia and escapism.”
Born and raised in rural Wisconsin, David Colman studied studio art at the Rhode Island School of Design and English literature and art history at Brown University.
After years of a prolific journalism career contributing to the New York Times, Vanity Fair, Vogue, and the Wall Street Journal, Colman recently debuted his studio art practice. In 2010, Colman was asked by MoMA PS1 director Klaus Biesenbach to team up with the Visionaire editor Cecilia Dean to curate and produce MOVE! at MoMA PS1 in Long Island City, an art-fashion participatory performance event. Colman and Dean produced MOVE! again in Sao Paulo in 2013 and New York in 2015. The artist is also working on a book that explores the tense inter-relationships of creativity, culture, sexuality and evolution.
Published in conjunction with the current exhibition at the Museum of the City of New York, Gay Gotham brings to life the countercultural artistic communities that sprang up over the last hundred years, a creative class whose radical ideas would determine much of modern culture. More than 200 images—both works of art, such as paintings and photographs, as well as letters, snapshots, and ephemera—illuminate their personal bonds, scandal-provoking secrets at the time and many largely unknown to the public since.
Starting with the bohemian era of the 1910s and 1920s, when the pansy craze drew voyeurs of all types to Greenwich Village and Harlem, the book winds through midcentury Broadway as well as Fire Island as it emerged as a hotbed, turns to the post-Stonewall, decade-long wild party that revolved around clubs like the Mineshaft and Studio 54, and continues all the way through the activist mobilization spurred by the AIDS crisis and the move toward acceptance at the century’s close.
Throughout, readers encounter famous figures, from James Baldwin and Mae West to Leonard Bernstein, and discover lesser-known ones, such as Harmony Hammond, Greer Lankton, and Richard Bruce Nugent. Surprising relationships emerge: Andy Warhol and Mercedes de Acosta, Robert Mapplethorpe and Cecil Beaton, George Platt Lynes and Gertrude Stein. By peeling back the overlapping layers of this cultural network that thrived despite its illicitness, this groundbreaking publication reveals a whole new side of the history of New York and celebrates the power of artistic collaboration to transcend oppression.
Donald Albrecht is the curator of architecture and design at the Museum of the City of New York and the author of many books, including Cecil Beaton: The New York Years.
OPEN MONDAY THROUGH SATURDAY, NOON TO 6PM.
Jane Stubbs and Eerdmans Fine Art are pleased to announce The Christmas Show, featuring works by Brigid Berlin, Cathy B. Graham, Susan Minot, Jane Stubbs Books & Prints, Emily Thompson Flowers, Matt Austin Studio, Alan Rosenberg and Rosie West.
Brigid Berlin is an American artist and Warhol superstar. The show will include several of her celebrated needlepoint pillows depicting sensational front pages from the New York tabloids, polaroids, and other works.
Cathy B. Graham is an artist and noted fashion illustrator. Vendome Press is publishing a book on her work, with text by Daphne Merkin, in Fall 2017.
Emily Thompson Flowers is one of the premiere floral designers in the country. They have designed the arrangements for the White House, MoMa, and more.
Marian McEvoy is legendary for her glue gun objets. She is a celebrated former editor in chief of Elle Decor and House Beautiful.
Susan Minot is an acclaimed American novelist and screenwriter who is also a talented watercolorist, and decoupage artist. While there have been a number of exhibitions of her watercolors, this is the first time her decoupage work has ever been available.
Matt Austin of Matt Austin Studio has followed his curiosity since 1971. Having grown up in a family of artists, Matt's eye for detail and craftsmanship can be found in all his projects and fine art.
Rosie West is a London-based artist.
Eerdmans Fine Art and Jane Stubbs Books & Prints are pleased to present In Search of Emilio Terry, an exploration of the architect Emilio Terry’s work and influences, featuring a series of new paintings by Greek artist Konstantin Kakanias. It will run October 20 through November 12, 2016 with an opening reception Wednesday, October 19, from 6–9pm.
In Search of Emilio Terry is an attempt to understand the mysterious architect-designer Emilio Terry (1890–1969) through his contemporaries, his library, and his own work. Hailing from a Cuban sugarcane fortune, Terry worked for such clients as Helena Rubinstein, Stavros Niarchos, Charles de Beistegui, the Princesse Caroline Murat, and others at his own discretion and with little interest in publicity. His early work was stimulated by the nascent surrealism movement, but later was dominated by a reinterpretation of neoclassicism that he called the Louis XVII style. As part of his self-taught study of Classical design, he assembled an important library of engravings and treatises from the Renaissance onward. This exhibition will contain several examples of the sources he so often turned to for inspiration as well as work by and related to his circle of friends and collaborators, including Christian Berard, Salvador Dali, Jean-Michel Frank, and Stanislas “Boni” de Castellane.
At the center of the show is a tour of Emilio Terry’s work, from the Directoire salle de bain of the Hôtel de Chanaleilles which Terry restored for Stavros Niarchos to the extravagant theater designed for socialite Charles de Beistegui at the château de Groussay, as experienced by Mrs. Tependris, the fictional heroine of the artist Konstantin Kakanias. Kakanias (Athens, Greece, 1961) is a multi-media artist whose work fuses the worlds of art, fashion, and design. The artist first introduced Mrs.Tependris for an illustrated New York Times Magazine article in 1996.
Kakanias studied at the Fashion Institute of Technology in New York City and the Studio Berçot in Paris, France. The artist began his career working as an illustrator for newspapers and magazines such as French Vogue and Vogue Italia and creating textile designs for couturiers Yves Saint Laurent and Christian Lacroix. Most recently he created a collection for Swarovski and collaborated with Diane von Fürstenberg and DC Comics to create the comic book Be The Wonder Woman You Can Be. His work is in many private and public collections in Greece, France, Italy, United Kingdom and the United States. He currently lives and works in Los Angeles and Greece.
In Search of… is the first in a series of exhibitions jointly curated by Emily Evans Eerdmans and Jane Stubbs on influential figures of design, literature, and style.