12 Top Designers Pick Must-See Works at The Salon Art + Design
For the third year, Artsy has invited 12 top designers—leaders in the fields of fashion, interiors, and architecture—to guide intimate tours of The Salon Art + Design, a fair known for its breadth of world-class exhibitors showing everything from 18th-century French furniture to the newest in contemporary design. Here’s a sneak peek of what they’ll be highlighting on their tours at the Park Avenue Armory next week.
Diego Giacometti, Hair dresser stool with Harpy, ca. 1960
Galerie Marcilhac, Booth D7
For over two decades, I have been a big fan of Diego Giacometti. I’m drawn to this piece as it exemplifies the fine line between Artist and Artisan. Its handmade quality and craftsmanship are unique and, generally, have a one-of-a-kind feeling to them.
Gabriella Crespi, Mobile contenitore Mehir, 1978
Nilufar Gallery, Booth A18
Perfection in form, tone, and design.
Adam Silverman, Untitled, 2015
Friedman Benda, Booth b1
I have loved Adam’s work ever since we first met when he was still at Heath Ceramics. His unique vision has firmly established him as a leader in the contemporary ceramic movement.
Roger Capron, Bull Head, 1956
THOMAS FRITSCH-ARTRIUM, BOOTH A7
Roger Capron’s white and black enameled ceramic and metal Bull Head (1956) captures a sense of playfulness, adding a mid-century modern whimsy. I like to juxtapose contemporary and traditional pieces of art, encouraging my clients to enjoy the journey of exploration.
Gio Ponti, Triennale Armchair, 1951
Galleria O. Rome, BOOTH D19
The Triennale Armchair is an original piece made by Gio Ponti in 1951 for the Triennale in Milan. A bergere chair deprived of its skin and reduced to its skeletal structure, it exemplifies and illustrates perfectly the aesthetics defended by Gio Ponti. The wood-working, also, is meticulously done, with curved surfaces and the suspended seat and back-rest creating the effect of levitation.
Wharton Esherick, Sofa, 1968
Moderne Gallery, Booth D13
This free floating sofa by the “dean of American craftsmen” Wharton Esherick is a visual stunner. One of only three free-floating sofas ever created by him and with only eight known examples of this particular sofa, this sculptural masterpiece straddles the line between sculpture and furniture, feeling site-specific and yet functional in a variety of environments.
Temple St. Clair
Line Vautrin, Witch mirror “Soleil à pointes n°3”, ca. 1950
Galerie Marcilhac, Booth D7
What I love about this piece is the whimsical, child-like view of the world. All of Vautrin’s pieces—from buttons to jewels to compacts to mirrors—are the most playful, personal collectibles imaginable. Looking into this mirror can only make you smile.
Gio Ponti, Wardrobe, Mid-1960s
Galleria O. Rome, Booth D19
This remarkable object transforms a humdrum freestanding wardrobe that would conventionally be symmetrical, into a magical series of implied blue sky windows, recalling the surreal works of
Thaddeus Wolfe, Unique Assemblage vessel, 2015
R & Company, Booth C5
Both technically and aesthetically, Thaddeus Wolfe’s vase is an object of wonder. The boldly structured and skillfully executed form exhibits a perfect marriage of composition, color and texture. It is this same cohesive sensibility that I strive to bring to my interiors.
Modernity, Booth C4
Clean design with simple lines, brass detailing and various storage sizes allow this cabinet to have multiple capabilities.
Philippe Hiquily, Table, 1966
Demisch Danant, Booth A11
I love the simplicity of design—two intersecting shapes in this work create a dynamic sculptural form.
Clare Graham, Pop Top side chair, 2000
DeLorenzo Gallery, Booth D2
I really respond to the obsessive nature of Clare’s work. In the case of this piece, his process was truly transformative: he combined thousands of pop tops, a bit of canvas, and an old garden chair to form this strong piece of modern sculpture. You put it in a room, and rest assured that everyone is going to talk about it.