NY Fall Museum Preview
It wouldn’t be Fall in New York without some blockbuster museum shows to get excited about and 2017 is no exception. Kicking off the season is MOMA with a major survey of works by Max Ernst (Sept 23) comprising around 100 works from the Dada and surrealist artist’s experimental career that spanned painting (see left), collages, rubbings, sculptures of painted stone and bronze, prints, and illustrated books and collage novels. MOMA will also turn the focus on the printed works of Louise Bourgeois (Sept 24). Considered to be one of the 20th century’s foremost sculptors, the exhibition will feature never-before-exhibited prints and illustrated books alongside related sculptures, drawings, and paintings dated from the beginning of her career in the 1940s until the last two decades of her life.
Given the debate swirling around the role identity politics played in the 2016 election it seems appropriate that the New Museum should revisit what has been a perennial theme for the museum since it’s inception in the 80’s. Trigger: Gender As A Tool And A Weapon (Sept 27) brings together 40 contemporary artists who address the subject head-on in an exhibition that features specially-commissioned works and events. Find a full list of artists here: http://www.newmuseum.org/exhibitions/view/trigger-gender-as-a-tool-and-as-a-weapon
A true pioneer of identity politics gets a long-overdue comprehensive retrospective at MOMA PS1 this season. Carolee Schneemann: Kinetic Painting (Oct 22) begins with rarely seen examples of the artist’s early paintings of the 1950s and their evolution into assemblages made in the 1960s, which integrated objects, mechanical elements, and modes of deconstruction. In the late 1960s Schneemann began positioning her own body within her work in performances (see image on home page) which dared to go further than most artists before or since.
The Guggenheim lifts a curtain on a rarely-seen side of geometric abstractionist Josef Albers (Nov 3) with a show dedicated to photographs and photo-collages taken by the artist during trips to Mexico and other Latin American countries where Albers found inspiration in the architecture of ancient Mesoamerica (left).
Watch this space for updates as the season progresses…
Frieze NY 2017 Preview
What to look for at Frieze New York? On this regularly updated blog we offer a sneak preview of what our favorite galleries are bringing to the big white tent this year.
Hugo McCloud at Sean Kelly
McCloud further develops the aluminum foil paintings seen in his recent solo exhibition at Sean Kelly Gallery with a series that introduces a playful abstraction to these contemplative works. The opaque, mirror-like quality that dominates the composition provokes an instinctive search for self-reflection, yet prohibits a true impression of the viewer. The work begs one to consider what is hidden and what is revealed, both within the work and within ourselves. Watch out also for works by Sam Moyer, Los Carpinteros, Antony Gormley, Callum Innes, Jose Davila and James Casebere. Booth B63.
Enoc Perez at Peter Blum Gallery
Perez mines a fascination with architectural icons for political symbolism – and nowhere more so than his series of paintings of US embassies around the world. Employing his signature approach to mark-making as a kind of alternative printing process, Perez places these buildings within a color-drenched pop-inflected landscape redolent of the mid-century optimism that inspired their construction. Booth C25.
Jean-Luc Moulène at Galerie Chantal Crousel
Jean-Luc Moulène’s multi-disciplinary practice brings together art and science; the organic and the man-made, in hybrid objects (as left) that are sometimes beautiful, often alarming. A tension pervades the work: is it art, object, product or specimen? Questions abound, as you would expect from an artist who describes himself as a ‘poet’ with a passion for mathematics. Also at Chantal Crousel: Abraham Cruzvillegas; Roberto Cuoghi; David Douard; Wade Guyton; Fabrice Gygi; Thomas Hirschhorn; Michael Krebber; Melik Ohanian; Gabriel Orozco; Reena Spaulings; Clément Rodzielski; Danh Võ; Heimo Zobernig. Booth B18.
Scott Olson at James Cohan
Scott Olson’s painting practice is rooted in a deep fascination with painting’s materials, tools, and history, but also in performance, music, and improvisation. Through a process involving layering and removing through the use of glazes, masking, and scraping, the composition becomes an index of his maneuvers; a deliberate record of his process to which the viewer becomes witness. Also at James Cohan: Elias Sime; Yinka Shonibare MBE; Lee Mullican; Simon Evans; Amy Feldman, Richard Long and Bill Viola. Booth B38.
James Nares at Paul Kasmin Gallery
Best known for his single-brushstroke wave paintings, Paul Kasmin Gallery will devote their entire Frieze booth to a new body of work by Nares titled Runway Paintings. The new paintings are made from aircraft aluminum and thermoplastic paint – the same industrial grade materials and machinery used in aviation to guide flight paths during takeoff and landing. The series continues Nares’ fascination with movement, gesture and surface. Booth C17.
John Wesley at Fredericks & Freiser
Contemporary pop is the theme here with the perennially bright and breezy (and sometimes disarmingly erotic) paintings of John Wesley showing alongside works by Jocelyn Hobbie, Robert Overby and Mary Reid Kelley. Booth B5.
Liza Lou at Lehmann Maupin
Lehmann Maupin’s booth will feature 3 female Californian artists – Mary Corse, Catherine Opie and Liza Lou. Spanning 2 generations, these artists use different mediums to engage with the language of minimalism to explore color and form; landscape and identity. Liza Lou’s work (left) is a meditation on labor and process. Comprised entirely of woven beads, they exemplify Liza’s sustained interest in pushing the structural and aesthetic possibilities of her material. Booth C12.
Joanne Greenbaum at Rachel Uffner
Rachel Uffner Gallery’s entire booth will be devoted to the paintings, drawings and ceramics of abstractionist Joanne Greenbaum. Greenbaum’s vivacious paintings evince a freedom of style and medium with ink, flashe, acrylic, oil and magic marker all jostling for place among her mark-making choices. A display of ceramics will allow an opportunity to view the internal logic of the paintings in 3-D. Booth A20.
Lonnie Holley at James Fuentes
A mixed booth at James Fuentes will include paintings by Jessica Dickinson, Joshua Abelow, Jake Cruzen, Marcel Eichner and Noam Rappaport.
Look out for sculptures (left) by Lonnie Holley, a self-taught painter, sculptor and musician from Alabama whose extraordinary life story includes a tale of being sold at the age of 4 to the owners of a ‘whiskey house’. The seventh of 27 children, Holley has 15 children of his own and a natural talent for converting the ‘rocks and so many broken stones and so many nails and sticks and weeds and debris and garbage and trash’ into elegant sculptural assemblages. Booth A4.
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Desktop: an AK-UK Exhibition
25 -26 January 2017
An assemblage of computer, pens, books, paper weights, elastic bands and blu tac, visible on a desk, establish the possibility of office-based work. Yet these same mini-exhibitions of material objects appear oddly domestic, or personal when clustered on the desks of office spaces, providing an echo of the mundanity of everyday life within the increasingly corporatized spaces of work.
Indeed, the word desktop, used to describe the computer interface, often uses icons that are visual representations of these material objects, cut free from their situation in either home or work. The artists in this exhibition use the desktop as a starting point for explorations of the transitions between work and everyday spaces, and between virtual and imaginary spaces. The desktop has the ability to transport us from the domestic to the public, from the actual physical world, to worlds of pure imagination, such as the augmented reality of cyberspace. The exhibition is a study of these complex processes of migration and reality.
Alexandra Baraitser, Roland Hicks, Kasper Pincis,
Sirpa Pajunen-Moghissi, Ekkehard Altenburger
Curated by Alexandra Baraitser
in association with ArtKapsule
The Office Group
91 Wimpole St, London W1G OEF
Chelsea’s Petzel Gallery has assembled an impressive roster of artists for an impromptu exhibition responding to the imminent Trump presidency. Among the artists contributing work for the show which will be on display until Feb 11 are Yael Bartana, Judith Bernstein, Andrea Bowers, Troy Brauntuch, AA Bronson, Cecily Brown, Paul Chan, Mark Dion, Sam Durant, Charles Gaines, Rainer Ganahl, Hans Haacke, Rachel Harrison, Dana Hoey, Jenny Holzer, Jonathan Horowitz, Josh Kline, Barbara Kruger, Sean Landers, Louise Lawler, Glenn Ligon, Robert Longo, Allan McCollum, Adam McEwen, Sarah Morris, Joyce Pensato, Stephen Prina, Raha Raissnia, Peter Saul, Dana Schutz, Amy Sillman, Gary Simmons, Dirk Skreber, Slavs and Tatars, Henry Taylor, Andrew Tider/Jeff Greenspan, Rirkrit Tiravanija, Meg Webster.
In addition, each Saturday the gallery will host Symposiums in which key concerns raised by the incoming administration will be discussed. Subjects include Civil Liberties (Jan 21), Immigration (Jan 28) and the Environment (Feb 4).
The public is invited to get involved by writing down their reactions, thoughts, anxieties, hopes for the future as they enter the gallery.
The gallery will devote one room to screening film clippings, shorts, vignettes that in some way tackle today’s issues. This part of the program is open to anyone who wants his or her concerns brought before an audience. Submissions will be added to a loop and screened in the gallery as well as on the website. Visit the gallery’s website for details on submitting work: http://www.petzel.com/exhibitions/2017-01-07_we-need-to-talk/
Our Frieze Week Highlights
Frieze Week NYC 2016
Frieze week is upon us again – this year a week earlier than before to avoid a clash with the big-ticket spring auctions – and we at ArtKapsule are excited about the surprises in store at this always innovative Fair.
Among the exciting news emanating from Randall’s Island is the announcement of a new ferry service from East 90th Street that leaves every ten minutes and takes just five minutes coast to coast. Hallelujah! Sadly it only runs on weekdays so weekenders are stuck with the 20-minute ferry from East 35th or the trundling bus from the Guggenheim… but it’s a welcome improvement.
Luckily any inconvenience endured in getting to Frieze is offset by the riches in store on arrival and this year our favorite galleries have been feeding us some VERY tempting sneak previews of what they’re bringing to the Fair. Amongst the most thrilling is the prospect of new work from Ashley Bickerton at Lehmann Maupin which promises to herald a whole new direction for the master of contemporary baroque. Some of the most gorgeous paintings of the Fair will be found at Sean Kelly who’s showing lush, layered paintings by Hugo McCloud alongside Callum Innes’s dreamy minimalism. Over at Foxy Productions there’ll be new works by the increasingly sought-after Petra Cortright and Sascha Braunig, while Pace is bringing a raft of Fred Wilson’s poetic appropriations. And this is just a few of the NY galleries showing – fully 50% of the works in the main fair are from outside of the US.
This being Frieze, the art is not all on the walls and some lucky Fair-goers may well return home to discover a mysterious object in their pockets – the work of ‘reverse pickpocket’ Daniel Horvitz, who will be roaming the Fair looking for un-crimes to commit. There’s also the chance to see supercool punk poet Eileen Myles – girlfriend of ‘Transparent’ creator Jill Soloway – discuss the relationship between art and poetry (Thurs, 4pm). All this plus a live donkey contributed by Maurizio Cattelan and a giant inflatable baby by Alex Da Corte (at north entrance)! No wonder we’re dizzy with anticipation!
Follow us on Twitter and Instagram @artkapsule where we’ll be tweeting our thoughts and instagramming our highlights over the next few days – not only from Frieze but also from NADA and from Chelsea’s biggest gallery openings!
Wayne Northcross on Art as Furniture
Contemporary painting, sculpture and furniture are increasingly exhibited side by side in galleries and museums worldwide. Confronted with a minimal gallery or museum white box, artists often see in the void a rich opportunity to solve spatial challenges, propose questions about how we inhabit or exist in personal and private space—often with wit, pathos, drama and elegance. Not unlike moving into an unfurnished home or apartment.
Why not take a page from their book to design your own space with limited-edition, functional furniture art? Or, consider securing a private commission that reflects your taste and serves as a creative ground for artists to explore innovative design strategies and creative goals.
September’s Must-See NY Shows
Starting on September 8 New York galleries unveil their first shows of the new season and we’ll be there to check out new trends and talents on behalf of our clients. The shows below are top of our must-see list:
Nari Ward at Lehmann Maupin: Ward explores symbolism, history and context in objects and materials he discovers around the places he lives and works. New in this show is ‘Ground’, an installation of 700 copper-covered bricks referencing coded patterns found on quilts on the Underground Railroad, the network of secret routes used by slaves to make their way to free states.
Sept 9 – Nov 1, 201 Chrystie Street, NY10002.
Sarah Sze: at Tanya Bonakdar: Sze has dedicated a month to installing her first US solo gallery show in five years. Expect controlled chaos at an awe-inspiring level.
Sept 10 – Oct 17, 521 West 21st Street, NY10011.
Mark Dorf at Postmasters Gallery: We’ve long been fans of Dorf’s digitally enhanced landscapes that focus on man’s imprint on the natural world. Great to see him get his first solo show at this innovative space.
Sept 8 – Oct 17, 54 Franklin Street, NY10013.
Barnaby Furnas at Marianne Boesky: the high-energy painter who embraces the blood and gore of historic battles as well as the heart-racing thrill of stadium rock turns his hand to landscapes. Will we see a more mellow Furnas in this show exploring what earth may have looked like on its very first day?
Sept 10 – Oct 10, 509 West 24th Street, NY10011.
Clifford Owens at Invisible Exports: At time of writing the nature of Owens’ first show at this experimental gallery remained a mystery. Anything could happen: Tackling the last taboos of sex and the body, Owens has the power to shock the most jaded of audiences.
Sept 11 – Oct 3, 89 Eldridge Street, NY10002.
Dennis Congdon at Zieher Smith & Horton: Congdon’s sherbet color palette belies the melancholy wastelands he depicts. Priceless detritus of the past litters his canvases from piles of old master paintings to Greek statues broken and abandoned.
Sept 10 – Oct 10, 516 West 20th Street, NY10011.
Martin Roth at Louis B James: Past installations by Roth have seen him grow grass on rugs in a ruined castle and flood a gallery and fill it with fish. For his latest show the gallery is under two feet of rubble and will become a temporary home for birds.
Sept 9, Louis B James, 143b Orchard Street, NY10002.
And the Chelsea heavyweights: Chuck Close and Robert Rauschenberg at Pace Gallery; Dan Flavin at David Zwirner, Mike Kelley’s first posthumous exhibition at Hauser & Wirth and Roy Lichtenstein’s Greene Street Mural recreated at Gagosian.
All open Sept 10 except Close and Rauschenberg (Sept 11).
Press: AK-UK in The Clerkenwell Post
Press for artist Larry Krone
Welcome to ArtKapsule
ArtKapsule launched in London in 2012 to help new and experienced collectors negotiate the contemporary art market. From July 2014 we have continued this mission in New York, where we specialize in helping our clients find the artworks that will truly enhance their homes and their lives.
ArtKapsule’s consultancy service is transparently priced and offers clients the opportunity to access a range of unbundled services. Our priority is to create an exciting art-buying experience for our busy NY clients, fulfilling our clients’ needs at every stage of the acquisition process while also offering opportunities to learn more and meet other collectors and artists through a range of curated events.
We hope you will visit our website often, and sign up on our Contact page to receive our newsletter containing feature stories on art matters, news about the artists we work with, and details of ArtKapsule events in and around New York and London.
The team at ArtKapsule is dedicated to helping art lovers get the most out of their engagement with contemporary art.
Elaine Ronson, Founder and Director.
Press: AK in New York Observer
London Exhibition: Ralph Anderson
Ralph Anderson’s Drip Pop Paintings bring a low-fi 21st Century production value and
DIY approach to abstract painting. Each painting starts with a careful assemblage
of brush marks which Anderson then cuts out with a jigsaw, revealing the plywood
base and playing with the sense of illusion.The work revisits earlier movements
in abstract painting such as Lyrical Abstraction, Hard Edge Painting, Colour Field
Painting, Abstract Illusionism, and Shaped Canvas Painting, referencing artists such
as Frank Stella and Ellsworth Kelly whilst also stretching back to the earlier Action
Paintings of Jackson Pollock, Franz Kline and Willem de Kooning. Anderson’s use of
power tools to break the surface of the paintings brings the viewer firmly back to
the present day. By isolating the brush marks and suspending in time the runs of
paint Anderson aims to make the workshop and the act of cutting out, as well as
the process of painting, part of the artwork with the finished painting acting as a
residue of these earlier procedures.
For The Future of Drip Pop, Anderson has brought together recent work which show
the development of these ideas. The colour choices in these works derive from earlier
studies of sunlight and refraction, and the transferal of spectral gradients into
painting. Through these paintings Anderson has combined this scientific approach
with a free flowing, playful technique to build up layers of colours and brush marks
which sit between the representational and abstract image.
Ralph Anderson was born in Glasgow, Scotland, and now lives and works in London.
He graduated from London Guildhall University with a BA in Fine Art in 2001 and
gained a MA in Fine Art from Wimbledon College of Art in 2012. Recent solo shows
include, I’d Like to Get Off Please, ASC Projects, London, 2015; Retrobate, ArtLacuna,
London, 2014. Selected group exhibitions include, 50/50/50, Syson, Nottingham,
2014; Pareidolia, Pluspace, Coventry, 2014; Summer Saloon, Lion and Lamb,
London, 2014; Expanded Painting: Mocka-Modern, Oval Space, London, 2014.
THE FUTURE OF DRIP POP, 21 JANUARY – 21 MARCH 2015,
9 Brewhouse Yard, Clerkenwell, London EC1V 4JR. Hours: Mon–Fri 9.30 – 5pm, Sat-Sun closed
Wayne Northcross Meets Daniel Turner
AK Artists Feature in Hunger Magazine
Hunger, the biannual magazine from photographer and Dazed and Confused co-founder Rankin, interviewed AK artists Riitta Ikonen and Karoline Hjorth to find out how they discover their unique models and what goes into creating their extraordinary images.
AK’s Wayne Northcross + Bruce Weber
As an exhibition of his work opens at the Detroit Institute of Arts, Bruce Weber talks to ArtKapsule consultant (and Detroit native) Wayne Northcross for biannual art, fashion, photography journal, Un-Titled Project.
Working The Room
How contemporary art is embracing the furnished environment
How we live is communicated through the lens of fashion, art, architecture and design. Recent exhibitions in New York have featured applied design, such as ceramics and furniture as well as living environments that function as installations. Exhibited recently at Lehmann Maupin Gallery, Korean artist Do Ho Suh faithfully executes in diaphanous, transparent materials the traces of brick-and-mortar architectural forms that activate one’s recall and memory of personal spaces. His site-specific installations cleave to the size of an actual house: Design features such as bathroom and kitchen fixtures become personal and cultural sites rather than simply utilitarian objects.
Paul P created low mahogany tables, woven woollen rugs and paintings for his solo exhibition at 1602 Gallery and for the 2014 Whitney Biennial. The furniture was inspired by British 19th century designer and architect E.W. Godwin – a member of the Aesthetic Movement that included Oscar Wilde and Edward Burne-Jones. By referencing the sexual identities that often mark the Aesthetic Movement, Paul P. imbues furniture and design with a homosocial narrative. “The furniture is bound to my practice somewhat freely, attaching itself to literature and aestheticism and in that process alluding to certain lives lived. The desk sculpture Escritoire Nancy, was designed to be occupied by Nancy Mitford, one of the famous Mitford sisters, who, through the sharp polarity of their good and evil ways, seem to have touched everything that came to define the last century.” Paul P. in conversation with Anke Kempkes, Toronto, October 2013.
As artists embrace lifestyle in their work, is there a different exhibition model that counters the impression that the only way to feature contemporary art depends on a lifestyle-free pristine white box? In Chelsea the white box rules supreme. Hauser & Wirth’s Chelsea location is an example of the white box at its best: a large mutli-gallery whose pristine walls dare not intrude into a viewer’s relationship with the art on view. However, for its newest gallery and artist residency space in the English countryside, Hauser & Wirth brings contemporary art into conversation with the stuff of life by using a converted farmhouse replete with antique furniture, printed wallpaper and gardens. And on the Upper East Side, Gallerist Vladimir Roitfeld takes molding and all into his townhouse gallery and rather than detract from their visual power, the ornate and sumptuous gallery interiors make the viewer realize how much contemporary art can joyfully intrude into our living environments. Wayne Northcross
How’s It Hanging?
The rules for hanging artwork are made to be broken
Forget all those picture-hanging mantras eg the centre of the work should be at eye-level; a pair of works should be hung as if they’re one picture and so on… some of the most stimulating effects come from the more unusual hangs. The Brooklyn owner of artist Matthew Williams’ sky photographs (above, from the Elise…. series) has opted to position the works close to the baseboard so that the centre of the work is at eye level when you’re sitting on the low-slung sofa. The effect is to suggest windows, or portals, that you could quite easily step through (or lose yourself in).
A recent visit to the Sam Durant exhibition, Invisible Surrealists, at NY’s Paula Cooper gallery posited another innovative hanging idea: the staggered, variably-sized linked-paintings hang (as we have now officially designated it). Durant’s exquisitely-drawn renderings of archive photographs introduce some overlooked faces into the Euro-centric surrealist groupings, paying tribute to the ‘invisible surrealists’ of the exhibition’s title. Linking the framed drawings is not just suggestive of the random blossoming of surrealist communities across the globe, but also creates a striking visual narrative. Great for a long hall! (Incidentally, this terrific show finishes today, Sat Oct 18th – you’ve been warned!).
So, be an adventurous art-installer – it only takes a bit of spackle to put it right!
Carl J Ferrero’s sharp new satires
HOW TO GET AHEAD IN THE ART WORLD
Wayne Northcross considers Carl J Ferrero’s sharp-witted new work
10-Step Art Career Advisory, Carl J. Ferrero’s new series, highlights two equally weighted demands placed on contemporary artists today: their need to establish a profitable career in an art market rife with substantial barriers to entry; the expectation that their work reflect important cultural, social and political themes.
Ferrero, whose work has been featured recently in The New York Times and who has exhibited at the Bronx Museum of the Arts, offers tantalizing clues in his new watercolor and collages on paper. For example, in Find Own Your Own Voice (above), Why Bother, and Socialist Materialism, all from 2014, Ferrero lifts from art career advice websites and webinars pithy slogans and vaguely important art historical terminology that he re-employs satirically, showing us a disconnection between art creation and art marketing, and the artist as cultural hero. Ferrero questions whether the language to describe contemporary art practice must be encoded, impenetrable and opaque or necessarily impenetrable to enthusiasts outside of the market as well as to insiders and practitioners within. Pictorially Ferrero imagines artspeak, environmental disasters, political conflicts, and sexual identity as text bubbles that waft over collaged images of naked men, armed soldiers, and commando helicopters like tattered and towed airplane banners.
As a curator and artist manager I am often asked how one should go about securing representation or how an artist should get his or her work shown at all. Great questions surely. But I’d like to defer to Ferrero who suggests these issues are not as important as the artist’s and the viewer’s relationship to the work itself.
See more of Carl J Ferrero’s new work on the Artists’ page.
PRESS: read about AK in New York Times
New York Times writer Julie Klam sampled ArtKapsule’s $250 initial consultation process and discovered a love for the contemporary realism of Bettina Magi (Italian Girl, detail pictured, courtesy Gasser Grunert Gallery) and the witty text-driven watercolors of Carl Ferrero.
Julie commented on the ‘exhaustingly endless possibilities’ that lead potential art collectors like herself to fill their walls with less time-consuming choices such as mass-produced posters, mirrors or off-the-peg photographs. ArtKapsule put together a portfolio for the Times writer that suggested many ways of using her budget of $5,000: should she go for a series of fine art photographs in affordable limited editions, a single oil on canvas by an emerging artist or a mix of several styles? The options were all there in our carefully thought-through portfolio.
All of the artists suggested to Julie by ArtKapsule have received recognition from the art establishment appropriate to their status and experience and, while ArtKapsule is not in the business of viewing artworks as an asset class, we choose our artists with careful consideration of their future prospects. We were very proud to that Julie enjoyed her experience with ArtKapsule and we look forward to extending the same personalised service to all of our clients .
See the full New York Times article on our Press page.
Exhibition: ArtKapsule – London
Profile: AK stylist Hilary Robertson
Making The Most Of ‘The Stuff Of Life’
In the introduction to Hilary Robertson’s latest interiors book (‘the stuff of life’ is her fourth), she casually references the ‘De Stijl-themed’ room she created as a student on campus inspired by a Rietveld chair, and the pebbles she gathers and stacks ‘like a novice Andy Goldsworthy’. Encyclopedic reserves of visual inventory flood all of the interiors or tableaux Hilary creates. She is possessed of that magical ability to move a few objects around and make the whole room come alive.
It’s tempting to explain Hilary’s talent as innate, but a study of Dada and surrealism, a love of Hollywood movies of the 30s and 40s, and a deep admiration for French interiors, in particular decorator Frederic Mechiche and the architect Jacqueline Morabito, gives academic heft to Hilary’s styling. A regular on all of the most prestigious interiors magazines: Vogue Living, Elle Decoration, Living Etc and many more, ArtKapsule is proud to be able to offer Hilary’s services to clients who would like advice, or practical help, in how to display collections – whether of rare prints, family photographs or treasured souvenirs – to t their very best advantage in order that you, the owner, can enjoy them to the fullest. After all, as Hilary writes in her latest book, what you collect is, ‘a way of showing the world who you are: the museum of me; a key to your personality… all ‘stuff’, even the most quotidien, can be beautiful if it is arranged as if it is important.’ Elaine Ronson
the stuff of life, Ryland Peters & Small, $35.
Pic (above) by Anna Williams, portrait of Hilary Robertson on Home page by Sioux Nesi.