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ettore sottsass

Home Tag ettore sottsass
alessi wins 2021 good design awards.

alessi wins 2021 good design awards.

Jan 4, 2022

above> twergi by ettore sottsass

alessi announces the recognition of four key projects designed by as many prominent figures of the international design scene in the 2021 good design® awards: with twergi by ettore sottsass, 100% make-up proust by alessandro mendini, plissé by michele de lucchi and sweetheart by jim hannon-tan

above> designed by michele de lucchi plissé collection features an electric kettle, a blender, a hand blender, a toaster, and a citrus juicer. the refined design of these small kitchen appliances perfectly embodies the alessi essence of objects conveying art and poetry, functionality paired to sophisticated aesthetical research that heightens them to domestic sculptures. echoing the fifties and sixties fashion, plissé collection covers with pleats and folds domestic objects, transforming them into contemporary objects to exhibit in all kitchen environments as modern sculptures.

above> designed by jim hannon-tan sweetheart is a nutcracker inspired by the tale of the australian crocodile carrying the same name. at nearly 6 meters in length, sweetheart had a curious penchant for attacking outboard motor propellers. in 1979 he accidentally drowned by getting tangled in a net; his stuffed remains are preserved in a museum. inspired by a late-victorian model, this nutcracker is a tribute to australian wildlife. made of cast aluminum, it is a resistant and practical object to use, suitable for opening all types of dried fruit.

above> part of the alessi 100 values collection too, 100% make-up proust designed by alessandro mendini celebrates art as a crucial component in making design, and as an intrinsic and signifying value of alessi products. an extraordinary object originally crafted in two pieces for a show in bonn in 2000 whose title was “italy-germany 4:3. fifty years of italian and german design”, now re-edited in a numbered edition of 999 pieces. the vase ideally joins the collection coordinated by alessandro mendini in 1992, titled “100% make up”, which saw 100 authors, hailing from diverse creative fields, imagine a personal decoration for the same vase designed by the designer himself. this charming object provides a new interpretation of a pattern dear to mendini, born during a trip to france in the places where the writer marcel proust lived.

above> created in 1989 with the hope of revitalizing the ancient tradition of wood turning, at the beginning of 2021 the collection twergi by ettore sottsass has been relaunched with a new color palette as part of the 100 values collection that celebrates alessi anniversary. the collection includes jars, a corkscrew, a table centerpiece and salt, pepper, and spice grinders. these are must-have objects interpreted by sottsass with his distinctive signature juxtaposition of colorful overlapping shapes, typical of his poetic vision. all the pieces are made in italy with a semi-artisanal wood turning process in compliance with strict environmental, social, and economic standards.

now in its 71st edition, [ good design ] is one of the most prestigious and recognized design awards in the world, conferred annually by the chicago athenaeum museum of architecture and design in collaboration with the european center for architecture, art, design and urban studies and metropolitan arts press, ltd. founded in chicago in 1950 by architects eero saarinen, charles and ray eames and edgar kaufmann jr., the good design® prize is awarded evaluating over 900 design, graphics, and packaging projects from more than 48 countries, based on criteria such as innovation, sustainability, creativity, branding, shape, functionality, materials used, usefulness and aesthetics.

privati by ettore sottsass for acme studio.

privati by ettore sottsass for acme studio.

Nov 19, 2016

privati key ring by ettore sottsass.

“privati” key ring, a design by ettore sottsass, comes from acme studio’s line of designer key rings. the design uses an original shape. the base on each end unscrews to allow the keys onto the bar. each key ring is package in an acme flannel pouch.

price> $45 usd

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[ acme studio ] [ retailers ]

talking to designer patrizia moroso at luminaire.

talking to designer patrizia moroso at luminaire.

Jul 28, 2016

above> patricia uriquiola and patrizia moroso at luminaire’s women in design event

designapplause talks to patrizia moroso prior to her special chat women in design: patrizia moroso & patricia uriquiola with spanish architect and designer patricia uriquiola at luminaire’s chicago showroom. moroso is an italian furniture company founded by patrizia moroso’s parents in 1952, and it is still a family company. today the company is headed by the second generation of the moroso family- roberto, the ceo, and patrizia, the art director. patrizia gives us a good glimpse why building close relationships with designers and architects is so important to her.

the story of moroso is about adopting a different approach to the market. it’s a story told by their designs and projects, by people, the protagonists of contemporary living, who tell of their genuine, spontaneous passion for beauty, emotion, design and art.

moroso says what sets her company apart is the amount of time and effort it puts in to make sure the unique character of each designer’s concept is captured in the finished product. “we talk a lot with the designer to try to give identity to the objects,” she explains. “we try to understand what is the personality and the identity of that thing.”

[designapplause] what is the most rewarding aspect of your job? was this realization a surprise?
[patrizia moroso] what i love about my job is the possibility to make things and collaborate with the brightest minds i know. it’s a fantastic opportunity for your life to be enriched by these special people and to realize something with them is simply wonderful. these people bring talent, ideas and like patricia (uriquiola) a friendship.

[da] have you enriched your life by selecting such a high quality of talent?
[pm] ha! yes. you know everyone is influenced by their beginnings, and my beginning was with very special people and different from the mainstream of design. i started working in the family company, an established company (in the 50s) and simply a daughter coming back from the university. but my roots in the family business started early for me, a young child where i spent much of my time playing with fabric and wood as toys.

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above>plana – massimo losa ghini | 1987

at the university my courses were more creative in nature and i had ideas and my first collaboration was with a friend, massimo losa ghini, who was 22 at the time, but later became a very famous designer in italy and founded a movement called bolidismo and worked with the memphis group with ettore sottsass. soon after was ron arad and then toshiyuki kita.

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above> suriyama island | toshiyuki kita | 1989

ron was the first to translate an incredibly strong design language and his work was basically art pieces for collectors and museums with the subject of the chair. and with us, it was the first time he created industrial objects and i feel very proud doing that. i was absolutely attracted by his talent and his congeniality. with toshiyuki, coming from japan, for us a completely different world with another kind of concept for the seat- maybe like sitting on a rock in the garden, a fantastic example of organic design. it seems that every designer i’ve made contact with are special talents that greatly influenced me.

[da] do you take risks selecting your talent?
[pm] creating something new is an elemental part of design. it makes no sense to just make another thing like the past. so yes, of course. taking risks is part of our job. and this is also the most exciting part the process.

[da] regarding creative pursuits, can you share what you feel is important?
[pm] the first thing is to know yourself. to have confidence in what you are creating, which is not very easy when you’re young. to also feel and communicate passion. and think about finding a good partner who reinforces your thinking.

if you want to do something and can’t find someone happy to make it for you, just do it yourself. do it yourself first and show that it’s possible. and the technology makes it possible to create your own work. in the end, the (industrial) designer has to have a partner in the industry.

for example, i remember in the 80s when i was crazy about all the young london designers, the manufacturing industries were not there. the then young designers, ron (arad), jasper (morrison) and tom dixon, their studios also had workshops so they could make things to propose to people. tom dixon, after trying many many times became a big success mass producing his own.

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above> serpentine | tom dixon | 2003

when i first met patricia she presented models of baskets that she interpreted as furniture and she made all these models by hand. you see, when the designer presents more refined examples, more than a sketch or computer prints on paper, there’s a much better understanding of the project and designer. more recently, with front design like ron they also started designing for galleries and collectors and could also make things by themselves.

of course if the relationship is there, sometimes a sketch is enough. so you see in this example the importance of the relationship.

[da] a personal question about you. what do you feel are your most valuable assets you bring to your life’s passion? what are you blessed with. is it a talent or something learned?
[pm] i don’t know. i hope it is the value in the end of what we produce. it is the result of many good relations. i like to go around and see our work in a beautiful space, perfectly in harmony with the space and showing the value of the design. sometimes i go to a museum and see our work side by side with great pieces and i’m very proud. i also consider the life of a piece, if the work resists the change of time, resists the trends and is bigger than the last trend. of course every object does not have to be a masterpiece but the value a piece brings is very important.

[da] expanding on this question, is there something that people think is important but it’s not all that important?
[pm] ah yes, the ‘aesthetic’ for instance. you know i receive quite a bit of suggestions. most typically the younger talents focus on the aesthetic to try to keep my interest with some ‘ooh wow’ aesthetic attempts. but for me the aesthetic is absolutely the second step behind the concept because the concept is telling me why you did it.

[da] i recently judged a design show and the results were awful. a problem was the judges were given no criteria on what was important. was there innovation, was there a need fulfilled, were others talking about it. with design, after all the above is checked off what is the final criteria? is it good looking, how can a great solution not be beautiful. the aesthetic is pretty important here.
[pm] yes but for me the aesthetic is of course but it’s sort of of course. to understand why first, the concept, and then of course beauty because beauty is part of what we try to produce. and beauty is different for everyone in many different ways and takes a long time to fully appreciate.

[da] tonight you and particia will be chatting at luminaire regarding women in design. in 2009 you said there were many women design critics and journalists but few women designers. do you have a reason why? so today are things better?
[pm] let’s talk about gender differences. yes, there are many journalists and many are women, especially in italy. both genders are equally talented and accomplished it seems and i don’t see any gender difference. in the profession of design however there is some difference.

the people that i work with are all very confident and the dialog is easy and with many friendships. and there’s not a big gender difference regarding communication. but of course i find that the work between genders is usually a little different. the little details seem to be usually more important for women than for men.

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above> victoria and albert | ron arad | 2000

for example, ron arad is really made of iron. his work is sculptural with a very strong gesture and (whoosh) in one second he designs something that has the beauty aesthetic we were just talking about. and he’s connecting this artwork with a craziness for functionality. a chair has to be comfortable and the shape determines comfortability. and if i wish something warmer and softer then metal and we arrive at felt because it’s smooth like metal. his shapes derive from cars, speed and architecture, but he’s not interested in some other the details.

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above> tropicalia | patricia uriquiola | 2008

in contrast, patricia’s focus is on the little details. she’s interested in how we do a stitch, how to get a certain effect she wants. she’s not interested in the shape but the very detailed combinations of color and weaving and fabric. we wind up making custom fabrics to satisfy her vision. interestingly, with this kind of detail i find we arrive at a ‘total’ project of fabric determining softness, shape and functionality.

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above> soft wood sofa | front design | 2010

for front design (anna lindgren and sofia lagerkvist) their focus is on illusion, it’s not a function but an idea. for instance their ‘soft wood’ bench concept is a fabric that looks like wood, an illusion that a magician might do. it’s fantastic because of the surprise.

[da] your emphasis on knowing why and your interest in the details reminds me that tomorrow i am spending the last day at neocon seeking out the design award winners. my intention is to ask them why their product won the award. what made it so good.
[pm] ah, to ask the people that won? a good question. let’s hope that they know.

[Best_Wordpress_Gallery id=”13″ gal_title=”luminaire patrizia moroso 2016″] above> click on image to open lightbox | images courtesy of luminaire

luminaire is more than a furniture showroom. it is an interactive design research center, a playground for the soul, an esplanade for discovery. more than anything else, however, it is a resource focused on creating environments that affect people’s lives.

design mastersworks auction. wright.

design mastersworks auction. wright.

Apr 25, 2016

above> reaper | wendell castle | 2010 /// preview / new york | 7 > 19 may 2016 |11a > 6p /// auction / chicago | 19 may 2016 | noon ct

a showcase for exceptional objects, wright presents design masterworks, a tightly curated sale featuring seminal works by the most innovative and influential artists and designers of the 20th and 21st centuries at auction on may 19th. notable works include a minguren ii coffee table by george nakashima, an influential bloc bahut by charlotte perriand and a sculptural rocking chair, titled reaper, by wendell castle, alongside works that unite the worlds of art and design by paul kelpe, peter voulkos, nanda vigo and ettore sottsass. further distinguishing this impressive sale is a selection of important italian glass made by the country’s best designers and makers including an early mosaic vase by artisti barovier, a unique con macchia vase by fulvio bianconi and an exceptional carved vase by vittorio zecchin and franz pelzel, and more.

each of these groundbreaking designs will be featured in our full-color catalog alongside texts and images that contextualize their significance within the cannon of design. all lots will be on view in our new york gallery located at 980 madison avenue.

below> pennellate vase model 3788 | carlo scarpa | venini | 1942

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below> bloc bahut | charlotte perriand | cité cansado | 1958

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below> sculptures from stemmons towers dallas | harry bertoia | 1964a

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below> miss blanche chair | shiro kuramata | ishimaru | 1988 / 1989

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below> o vessel from the kalligraphy series | ettore sottsass | bitossi/flavia | 1996

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dolphin lounge chair | hans j. wegner | johannes hansen | 1950


below> untitled (monumental sonambient) from the standard oil commission | harry bertoia |1975

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preview / new york | 7 > 19 may 2016 |11a > 6p /// auction / chicago | 19 may 2016 | noon ct
chicago | 1440 west hubbard street /// new york | 980 madison ave new york city

chicago architecture biennial. 20 > 26 december 2015.

chicago architecture biennial. 20 > 26 december 2015.

Dec 19, 2015

[ 20 > 26 december calendar ] The Chicago Architecture Biennial is free and open to the general public at the Chicago Cultural Center and sites across the city. The event is supported by the City of Chicago and the Graham Foundation, with additional support from the Chicago Department of Cultural Affairs and Special Events, and the Chicago Park District. All funding for the event is privately raised, with significant investments from BP and SC Johnson.

‘chicago: how do you see?’ by norman kelley created an exciting feature on the windows of the chicago culture centre. photography: steve hall, copyright hedrich blessing. courtesy chicago architecture biennial

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marshmellow sofa | george nelson | herman miller / 1956

[ pop art design ] an exhibition organized by the vitra design museum, one of the preeminent furniture and design museums in the world, pairs iconic design objects with artworks from this celebrated era to show the cross-pollination between these creative worlds. this glimpse of art, chairs, sofas, lamps, and even architecture during the culturally ebullient 1960s and 1970s. artists such as andy warhol, roy lichtenstein, claes oldenburg and mel ramos alongside designers such as charles eames, george nelson, ettore sottsass, achille castiglioni, and robert venturi.

event> pop art design
venue> museum of contemporary | 220 east chicago avenue
dates> 19 december 2015 > 27 march 2016

For a complete list of exhibitions, public programs, supporters, media partners and program partners, visit [ Chicago Architecture Biennial ] which launched 3 October 2015, and will run through 3 January 3 2016. @chicagobiennial @GrahamFound @ChiCulturCenter

friedman benda exhibits ettore sottsass: 1955 >1969.

friedman benda exhibits ettore sottsass: 1955 >1969.

Sep 9, 2015

sottass-friedman1

Friedman Benda opened its eighth season with Ettore Sottsass 1955-1969. The fourth in a series devoted to the expansive oeuvre of the groundbreaking Italian architect – designer Ettore Sottsass (1917‐2007), the exhibition ten years in the making will explore the breadth of Sottsass’ remarkable creativity in the early stages of his career. With a display of unique ceramics, rare furniture and lighting, and vintage photographs never before seen in the United States, the exhibition will also be the first in a newly configured exhibition space for Friedman Benda in Chelsea.

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The showing serves as a gateway to understanding an extremely diverse and fertile 15-year period in Italian design and art, which precedes the years of Radical Design. These are the formative years for the designer who used ceramics as a laboratory for developing a new language of design. Rare ceramics on view will include work from every important series of this period and several are derived from Sottsass’s memories and reflections  of his travels to India, to the U.S., and from personal life experiences. 

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Among them  will be examples of Lava (1957), Tondi (1959), and Tenebre (1963), the designer’s “Darkness” series in somber tones with  mandala – like  imagery, conceived during a protracted illness. Others will be from Shiva  (1964), a series celebrating his return to good health with homage to the Indian deity, the great conqueror of death, and from the Tantra (1968), and Fumo (1969), series. All of these works have been extensively published and collected by museums worldwide.

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Furniture and lighting will also include major one‐of‐a‐kind pieces: the first showing in the United States of a bookshelf made for a director of Olivetti; front slatted rosewood  cabinets, one in white and one in red; and examples of mirrors and lighting designed for Arredoluce. Sottsass, who worked in a variety of media, produced many of these works for his patrons, while others were created as artistic expressions in his studio practice.

above> click on image to engage slideshow – 17 slides

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[ ettore sottsass ] (1917 – 2007) was an Italian architect and designer. His body of designs included furniture, jewelry, glass, lighting and office machine designs.

In 1956, Ettore Sottsass began working as a design consultant for Olivetti, designing office equipment, typewriters, and furniture where made his name as a designer who, through color, form and styling, managed to bring office equipment into the realm of popular culture. In office equipment his iconic Valentine typewriter (1969) became a fashion statement.

His work from the late 60s to the 70s was defined by experimental collaborations with younger designers such as Superstudio and Archizoom Associati, and association with the Radical movement, culminating in the foundation of Memphis.

In 1980 Sottsass Associati was established, primarily an architectural practice, although also designed elaborate stores and showrooms for Esprit, identities for Alessi, exhibitions, interiors, consumer electronics in Japan and furniture of all kinds.attracted attention world wide for its energy and flamboyance.

exhibit > ettore sottsass: 1955 -1969
venue > friedman benda | 515 west 26th street | new york | 212 239 8700
dates> 10 september > 17 october 2015

[ #FriedmanBenda ] [ instagram ] [ facebook ]

important design auction. wright.

important design auction. wright.

Dec 11, 2014

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nuage bibliothèque | charlotte perriand | ateliers jean prouvé for galerie steph simon | c. 1956

this is a great offering. important design is among wright’s most exclusive auctions of the year. the most celebrated designers of the 20th century are represented in this auction, including paul evans, charlotte perriand, ron arad, harry bertoia, george nakashima, pierre jeanneret, max ingrand and gio ponti.

highlights of the sale include a selection of designs by frank lloyd wright, such as a pair of lounge chairs from the clarence sondern house in kansas city, and a desk from the impertial hotel, tokyo. also outstanding in important design is a mesa coffee table designed by t.h. robsjohn-gibbings, a pair of prefacto chairs by pierre guariche, an iconic wonderlamp by verner panton, and a studio-made general motors firebird iii model designed by the legendary harley j. earl.

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big easy volume 2 for 2 | ron arad | ron arad associates | 1989

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welded front cabinets, pair | paul evans | paul evans studio | 1969

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chandelier, model 1441 | max ingrand | fontana arte | c. 1954

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grande compass table from the electricité de france, marcoule | jean prouvé | ateliers jean prouvé | c. 1954

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nocturne radio, model 1186 | walter dorwin teague | sparton corporation | 1936

1> conoid bench | george nakashima | 1988
2> untitled (sonambient) | harry bertoia | c. 1960
3> menta totem | ettore sottsass | bitossi for mirabili | c. 1965 / 1985
4> monumental battuto vase | tobia scarpa | venini | c. 1957
5> rare bi-pezzati vase | fulvio bianconi | venini | c. 1951
6> chess set | man ray | 1947

[ important design design ] includes many works of exceptional design. each item will be featured in our award-winning, full-color auction catalog as well as presented in our online preview at [ view lots ] | 1440 west hubbard street chicago | 312 563 0020 [ auction / chicago ]

auction > 11 december 2014 | 12 noon cst

design / 23 oct 2014 11a cst. wright.

design / 23 oct 2014 11a cst. wright.

Oct 15, 2014

above> rare bowl chair | lina bo bardi | 1951

auction > 23 oct 2014 | 11a CST

This October Wright presents an exciting selection of modern works by some of the 20th century’s most renowned designers including notable works by Alexander Girard, Paul Evans, Gio Ponti and Ettore Sottsass, to name a few. Single owner collections stand prominently in this auction with remarkable works from the design collection of the pioneering dealers, Full House and an exceptional group of ESUs by Charles and Ray Eames from the original owner. Finally, the sale features more than twenty lots designed by Tommi Parzinger for the Appleman Commission in 1956. Parzinger thoughtfully designed every detail of the Appleman interior and the collection includes lighting, tables, and seating along with specially designed door hardware and construction drawings from the project.

wright14-binazzi1prototype scarica elettrica table lamp | lapo binazzi | 1973 / 1985

wright14-ceroli1chair from the mobili nella valle series | mario ceroli | poltronova | 1972

wright14-evans1faceted cabinet | paul evans | paul evans studio | 1965

wright14-ierare daybed | kho liang ie | artifort | c. 1959 / 1960

wright14-richter1muren ljusblå flatweave carpet | marianne richter | märta måås- fjetter- ström | 1971

wright14-platner1dining set | warren platner | knoll | 1966

wright14-jeanneret1pair of committe armchairs | pierre jeanneret | c. 1953

wright14-rossasso vase | antonio da ros | cenedese | 1959

wright14-sottsass1svincolo lamp from the bauhaus collection | ettore sottsass | studio alchimia | 1979

[ design ] includes nearly 250 works of exceptional design. Each item will be featured in our award-winning, full-color auction catalog as well as presented in our online preview at [ View lots ] | 1440 West Hubbard Street Chicago | 312 563 0020
[ auction / chicago ] preview / chicago || 16 – 23 October 2014 | 10a > 5p monday > ​saturday | sunday by appointment

auction > 23 oct 2014 | 11a CST

surfaces on which your setting and sitting will be uncertain. ro/lu at patrick parrish.

surfaces on which your setting and sitting will be uncertain. ro/lu at patrick parrish.

Sep 1, 2014

rolu-parrish1

Function is no object for RO/LU, the St. Paul based studio. According to their website, “RO/LU continues to explore ‘art history as a material’ by starting with very literal information from existing works and reinventing through intuitive connections to others: Superstudio’s Quaderna line, environmental installations by Ettore Sottsass, Scott Burton and James Lee Byars’ utilization of man as a symbol object…

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“Surfaces On Which Your Setting and Sitting Will Be Uncertain” is a group of sculptural furniture objects by RO/LU with matching clothing by Various Projects. The objects, made from welded wire mesh, seem to change when one moves in their presence, in some way becoming different with each step taken around them.” The objects, although not “sit worthy,” form an interesting tension between the handmade yet industrial strength of welded steel. The work is on view as the inaugural show at Patrick Parrish Gallery in New York from September 4th through October 4th. Contributors/Team> Matt Olson, Mike Brady with Various Projects.

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rolu-uncertain-various1

event> surfaces on which your setting and sitting will be uncertain.
venue> Patrick Parrish Gallery | 50 lispenard street new york | 212 219 9244 info@patrickparrish.com
date> 4 september > 4 october 2014

ettore sottsass: important works from a private collection. christie’s.

ettore sottsass: important works from a private collection. christie’s.

Dec 17, 2013

christies13-sottsass1

Christie’s New York will auction a major collection of work by designer Ettore Sottsass. It is on display to the public until December 20 in the auction house showroom at Rockefeller Center—only steps from the tourist swarmed Christmas tree and skating rink. The godfather of Memphis shows himself a master of primal forms and whimsical ones as well, witty and iconic in his furniture and ceramics and often at the same time. Included are drawings, graphics, prototypes and other items.

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[ christie’s statement ] Ettore Sottsass Jr. (1917-2007) has endured as one of the most significant and influential post-war architect-designers, whose idiosyncratic and versatile talents have guided a modern understanding of the relevance of Design. Fluent across all categories of expression, from architecture to craft, Sottsass was a unique personality that was able to synthesize seemingly disparate influences to render his own distinctive and highly painterly design vocabulary – one that was invested with symbolism and metaphor – erasing the distinctions that were perceived to exist between the fine and the decorative arts.

The collection gathered for this exhibition is fluently representative of the critical period encompassing the late 1950s to the late 1960s, illustrating his evolution from commercial experimentation towards the establishment of an aesthetic credo that was resolved, defined, and invested with highly personal mythologies. Drawn from the personal possessions of the designer and his wife, Fernanda Pivano (1917-2009), and encompassing furniture, ceramics, metalwork, textiles and jewelry, alongside artworks, drawings, collages and a complete series of the self-published artists’ and poets’ books, the collection summons revised interpretation of this universally influential personality. Presented now for the first time, the exhibition will highlight previously unseen works, including furnishings and objects from the couple’s Milan apartment, now published for the first time since Domus magazine chronicled their home in 1967. This unique exhibition delineates the stylistic and conceptual narrative that invokes a unique opportunity for reassessment, and an enriched interpretation of this pioneering figure. [ details ]

dates> 7 > 20 december 2013 | mon > sat 10a > 5p / sun 1 > 5p
location> gallery 7 | 20 rockefeller plaza

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