ACC

CULTURED at Home is finally here. The new design publication from CULTURED, guest edited by @alexcunninghamcameron , “chases the impulse for abundant experience across ruined gardens, calamitous interiors, midnight listening parties, and sancta sanctorum,” to capture how artists and designers really live, mess and all. The inaugural issue is part resource—mapping landscapes of contemporary design culture—and part reverie—a collection of intimate looks into the homes of critics, novelists, filmmakers, and designers. Above all, ACC sees CULTURED at Home as an homage to the “intelligence each of us gains from a lifetime of sensory experience. To place a rose in a vase on the table just so is an opus. Only you can do it like that.” Head to the link in bio to snag your copy before they sell out. Editor in Chief: Sarah Harrelson @sarahgharrelson Guest Editor: Alexandra Cunningham Cameron @alexcunninghamcameron Creative Director: Erin Knutson @e__knut Executive Editor: Mara Veitch @maraveitch Market Editor: Adam Charlap Hyman @adamcharlaphyman Kitchen and Bath Editor: Sam Chermayeff @samchermayeffoffice Gardens Editor: Precious Okoyomon @devilintraining_ Books Editor: Carson Chan @chan.carson Contributing Editors: Ruba Katrib, Lawrence Kumpf (@blankforms_ ), Cynthia Leung (@cyntheticpleasures ), Stella Roos (@stellarooss ), Jason Wigginton (@jason.wigg ) Cover photography: @oliverhelbig_ with creative direction by @samchermayeffoffice

Years in the making, @cooperhewitt announced today the acquisition of a major collection of work by the designer Tobias Wong (1974–2010) and forthcoming exhibition. Thanks to the many collaborators who made this possible including the Wong family and friends @kaufmanprojects @pablo.griff @aricchen and the curatorial, conservation and registrar teams at the museum especially @emilymarshallorr @sunena_maju @loic_derrien and @vivianegosselin123 from the @museumofvan Born and raised in Vancouver, British Columbia, Canada, Wong studied architecture at the University of Toronto and sculpture at Cooper Union where he earned a Bachelor of Fine Arts in 2000. Wong used design as a means to impart objects with ideas that were fresh and innovative while disrupting the status quo of the art and design worlds. He described his practice as “para-Conceptual,” suggesting that he went beyond or around an idea before turning to the object. A wide range of proposals emerged from his studio, spanning product, graphic, spatial and digital designs that expanded discourse around the role of design in everyday life and the function of designer as social critic. Wong collaborated on products and installations with forward-thinking brands including Colette in Paris and Comme des Garçons in Tokyo, as well as on short-term installations with artists and designers in the “Terminal 5” exhibition (2004) and the “Wrong Store” (2007) that experimented with new formats for retail and exhibition display. He worked as a consultant, product developer and design director for Capellini, Cite, Prada, Reflux Editions, Swarovski and Troy in New York. Wong was named Young Designer of the Year by Wallpaper magazine in 2004 and by the Brooklyn Museum in 2006. His work was exhibited around the world, including at the Museum of Modern Art, Museum of Vancouver, San Francisco Museum of Modern Art and Cooper Hewitt.

Willi Smith: Street Couture featuring 50 extraordinary contributors on the life, work and impact of #willismith 💌

𝟰𝟬 𝗢𝗕𝗝𝗘𝗖𝗧𝗦: What defines a 21st-century object? For PIN–UP, curator Alexandra Cunningham Cameron selects 40 objects shaped by instability, acceleration, digital life, ecological anxiety, and shifting social codes — from Crocs to ring lights, electric cars, BlackBerrys, and beyond. Together, they form a time capsule of the early 21st century: familiar forms remixed, recycled, memeified, and emotionally charged for a future we are only beginning to sense. Get your copy of 𝟰𝟬 𝗢𝗕𝗝𝗘𝗖𝗧𝗦 as part of #PINUP40 at 𝗽𝗶𝗻𝘂𝗽𝗺𝗮𝗴𝗮𝘇𝗶𝗻𝗲.𝗼𝗿𝗴 Or join the conversation at @doverstreetmarketnewyork Saturday, May 16, 3–5 PM Featuring: Alexandra Cunningham Cameron, Director of Design, Judd Foundation @juddfoundation @alexcunninghamcameron Aric Chen, Director, Zaha Hadid Foundation @zahahadidfoundation Mariam Issoufou, architect @mariamissoufou_architects Moderated by Camille Okhio, writer @cokhio #ArchitecturalEntertainment

My babies. Almost bigger than me now.

@juddfoundation @arch___itecture @mack_publishing

Honored to start this next chapter with @juddfoundation @donaldjuddfurniture Deepest thanks to the Judd team for the warmest welcome and to @wwd @fiaceleste for sharing the news! 📸 @jeremy_liebman

Best thing I’ve ever bid on late at night while I should have been sleeping. From the 25th anniversary sale of dealer Larry Converso. A Muriel Coleman (1917-2003) bookshelf, c. 1950, likely made for Pacifica Iron Works from enameled rebar and walnut panels, reclaimed scrap used during a time of scarcity for raw materials and women designers. The bookshelf was made around the time the PACIFICA: Furniture, Textiles, and Ceramics exhibition was held at the de Young Museum in 1952, a showcase of Bay Area modernists like Luther Connover and Kay Sekimachi influenced by an exchange between California and the Pacific Islands. Looking at US design trends from that period, there was an overwhelming Asian Pacific influence across intellectual and commercial circles, driven in part by wartime cultural exposure. Coleman herself worked for US intelligence doing forensic analysis of coastlines during the war. But in the last years, my time with @leong_dominic @seanwconnelly @kekahiwahi and others has opened my understanding of the ancient planetary forces that have circulated ideas, felled forrest, and also people around the North Pacific Gyre connecting Asia, Alaska and Northern California. Completely changing how I’d tell a story about a piece of furniture like this. And underlining how not just our material culture but the natural world and our selves exist in continuous relation, unfolding across contexts in a process of making and remaking impossible to bracket in a movement.

After the Willi Smith: Street Couture exhibition in 2020, the @christojeanneclaude Foundation donated the collection of 1983 WilliWear Productions Artist T-Shirts that Christo lent to Cooper Hewitt. The series includes commissions from then early-career Barbara Kruger and Jenny Holzer as well as SITE, Arman, Dondi White, Futura and Keith Haring among others. Willi Smith and Laurie Mallet saw the T-shirt as a mass produced and quintessentially American canvas that could expand access to art beyond the walls of institutions, popularizing an industry so ubiquitous today that it’s hard to imagine there was a beginning. The series debuted at the Ronald Feldman Gallery in 1984 where the shirts were displayed like posters wrapped for sale on printed boards designed by Bill Bonnell who created WilliWear’s postmodern graphic identities in the early eighties. The shirts were also featured at a Public Art Fund event at Area nightclub in 1984, sold to benefit the org, with an accompanying film “Made in New York” by Les Levine that features interviews with artists, the Bill T. Jones and Arnie Zane Dance Company, experimental computer animation, kids, and a narrative dramatizing young artists trying to make it in NYC. These images show several of the T-shirts, Kruger, Zephyr and Ed Schlossberg as well as press materials with Willi and models, one of the wrapped Holzer T-shirts, our installation for the show done by @sitejameswines @samchermayeffoffice Laurie Mallet at the show, a still from Made in Mew York and Willi closing a runway wearing the Dan Friedman shirt. An incredible amount of dedicated research and legwork went into this and I’m so grateful to @jealous_trip and @darnelljamal for their partnership as well as the many friends of WilliWear who gave their time, memories and objects to the effort to surface this design history.

Another recent @cooperhewitt acquisition, Pippa Garner‘s THINKMAN (1984) is a rare-early-large-scale work by the American artist, industrial designer, illustrator, and writer known for her parodies of consumer products and social critique. THINKMAN came to the museum through the advocacy and scholarship of @fifidunks from the collection of Denise Domergue, a design legend, friend of the artist, and former neighbor in the storied Los Altos Apartments in Los Angeles. Denise acquired the work in 1987 from painter Nancy Reese, Garner’s ex-wife. Garner built THINKMAN in her Los Altos basement studio while living and working under her given name, Philip Garner. It’s constructed from components of another of her seminal works, PERMAFASHION SPORTS JACKET (984), a sculptural garment designed to evolve with the wearer as an expressive canvas. These works, also her HALF-SUIT (1981-82), belong to Garner’s early play with American codes of masculinity. Images of THINKMAN with its peekaboo cabinet doors closed; magazine tearsheet as found in Garner’s archive; and Permafashion Sports Jacket in Garner’s Utopia... or Bust! Products for the Perfect World (Delilah Books, 1984)

Returning to Miami March 19+20 for the opening weekend of Get in the Game: Sports, Art, Culture @pamm and GAME TIME: Dialogues on Art, Sports, and Headlines, a public program uniting artists, athletes, curators, poets, and journalists organized by @adamabdallday . To introduce a panel for the On The Line documentary, I’ll be reading from Joyce Carol Oates 1987 On Boxing, a collection of essays that changed my relationship to work and writing. My family moved to Miami in the 1960s, around the same time Muhammad Ali arrived in the city after winning gold at the 1960 Summer Olympics. He developed his The Greatest persona there, famously training in the water and jogging through the city’s still-segregated streets, often past my dad’s childhood home in North Miami. My father and grandfather would tell the story of seeing him so frequently that it became my own memory, Ali sweating through the sun like a benediction in their bland working-class neighborhood. Image of Muhammad Ali painting from the Ali Center. @gametimesessions

Last days of Seth’s show @entrance.nyc and my favorite yellow.