NOW ON SHELVES! A BIG IMPORTANT ART BOOK (NOW WITH WOMEN): Profiles of Unstoppable Female Artists--and Projects to Help You Become One by the formidable Danielle Krysa aka The Jealous Curator is ALIVE!
I feel like I’ve known Danielle now forever and she was one of my very first internet champions, sharing my work and kind words on her blog years ago. Now the second book we've worked on together, this beautiful book energizes and empowers women, both artists and amateurs alike, by providing them with projects and galvanizing stories to ignite their creative fires. Each chapter leads with an assignment that taps into the inner artist, pushing the reader to make exciting new work and blaze her own artistic trail. Interviews, images, and stories from contemporary women artists at the top of their game provide added inspiration, and historical spotlights on art “herstory” tie in the work of pioneering women from the past. ⠀⠀⠀⠀⠀⠀⠀⠀⠀
Congrats to Danielle and the other 44 artists found inside this awesome compendium of talent. Find your copy at Running Press, Amazon or at any fine purveyor of print near you!
NOW ON SHELVES! A BIG IMPORTANT ART BOOK (NOW WITH WOMEN): Profiles of Unstoppable Female Artists--and Projects to Help You Become One by the formidable Danielle Krysa aka The Jealous Curator is ALIVE!
They don't walk,
they just glide in and out of life
They never die,
they just go to sleep one day
-Sons of the Silent Age from David Bowie's 1977 Heroes
Yesterday's news of David Bowie's death came to me from the radio in the living room as I wiped sleep out of my eyes to greet another Monday. As the day unfolded with jam-packed social media feeds and radio news and television announcers sharing songs, images and thoughts about what David Bowie meant to the world, I took retreat to my studio.
It feels selfish to be sad about a man's passing, a stranger who you never met, a person you only knew via media and music, but yesterday and today and probably for many days to come, I find myself dim with the concept that the world lost such a true original with the passing of Bowie.
I stumbled across this 1979 BBC Star Special recording that Bowie did via a DJ friend Tommy Blackburn and it's a wonderful listen. Bowie sharing music that he loves, it's simple and easy and like his own music and song writing poetry is a wonderful treat for a grey day like this one. ♥ RIP David Robert Jones (1947-2016)
Really feeling this video on SFMOMA's website where Ellsworth Kelly recalls his first encounter with abstraction and reflects on how his decades-long fascination with line, form, and color has manifested in both his paintings and his creative process. I have always thought of my own meditation on shape and color summed up in the same words in which Kelly describes his fascination with the mysteriousness of color and shape. Take a watch!
Oh! And if you are in Texas, how excited are you for this!
Matt Jacobs is an artist based out of Kansas City, Missouri and his playful collage paintings are just the cheerful and gushy work that remind the viewer how an artist can manipulate materials as simple as an onion bag into a weighted work of art. Apart from his viscous approach to the medium of paint, his use of color make his chewing gum textured work that much more desirable to touch.
Jacob's work ranges from quieter paintings on paper to larger than life installations utilizing scraps of wood, wire, inflatable pool toys, tape, and of course paint and his recent exhibit at Bemis Center for Contemporary Arts had a playful mix that showcased his compositional breadth. We also have a really sweet bubblegum pasta painting at MASS Gallery in our little MA$$ Shop that I swear one of these days will come home with me!
As of late, Jacobs has been toning down his palette and making these beautiful, ghostly acrylic sculptures that are intriguing, and with just a few spots of color smashed between layers of plexi, you can tell he is thinking about collage in a whole new way. I am really drawn to the reveal of materials and will plan to follow along on his site to see where his style will evolve.
images above via
Just got back into town from a birthday trip to Mexico City, where I was super fortunate to hang out with Leslie Moody Castro, an old friend and co-founder of AtravesARTE a company that provides their clients with an unparalleled, personalized tour experience while showcasing and promoting the cultural value of contemporary art in Mexico. Tagging along with them, we got to check out new artists and new art spaces that we would have not otherwise had access to, even me a person that has travelled to DF many times over the last decade. Along our journey from one taco to another, from one art space to the next, we visited the amazingly stunning Museo Jumex where we saw Abraham Cruzvillegas's exhibit Autoconstrucción. Cruzvillegas was born in Mexico City in 1968 and his work is inspired by the harsh landscape and living conditions of Colonia Ajusco, his childhood neighborhood in Mexico City where houses were built on inhospitable land in ad hoc improvisations. Over the past 10 years, Cruzvillegas has assembled sculptures and installations from found objects and disparate materials and developed a riveting body of work that investigates what he calls autoconstrucción, or “self-construction.”
Much of the work is human scale and the viewer is really encouraged to peek around each nook and cranny of the sculptures, unveiling the material mysteries that Cruzvillegas has hidden for us. I tried to snap as many pics as I could, but really being immersed in it was the best way to take it all in.
For more on Cruzvillegas, check out the most recent Art21 episode on Legacy, here's a snippet!
Despite what some may think, there are always new and interesting art happenings occuring in this fair city of Austin, TX. Perhaps it's due to the influx of bright and chirpy young folks that come to central Texas to study at any number of the higher education palaces that dot the area. Perhaps it's something else entirely, but I certainly love when I get to witness new energy and ambition go into operating a space dedicated to exploring contemporary art and artists and the conversation that surrounds that process. A new little house gallery just opened up called Permanent.Collection and I am so happy that they did because at their inaugural show I was introduced to the work of Chicago-based artist, Alex Chitty.
Walking into Permanent.Collection I was immediately drawn to a collection of intimate, hand manipulated collaged photographs that were pinned to the back wall of the tiny living room gallery space. I spent a lot of time observing Chitty's manipulation of the photographic surface and soon found myself dreaming of owning my very own so I would never have to say goodbye. As stated in a recent article about her on Make.Space.net, "over the last couple years her work has gone from collages and prints to flat cut paper and paper sculpturally attached to the wall to vitrine-like sculptures. The work seems to confound the definition of what is flat and what is dimensional – a piece of paper can be a sculpture and a sculpture can collapse into a layered plane as the viewer looks through it."
I am pretty smitten and enjoy the playful and unprecious approach that remains underlying in each work that I've seen, no matter the medium. I find great affinity to her unabashed need to collect images and objects, even if the direct purpose for having them is unknown for months or years or maybe never. I can equally relate to the neatly stacked islands of chaos that can be found in her studio as a result of her collecting. I invite you to take a peek at her body of work and get all wrapped up into it like I have!
If one called painting by its name, Malin Gabriella Nordin would probably have it
respond with the voice of rocks: of stones that fluently speak their own language
of shapes and ciphers and glow with multiple colours in the dark. Nordin gives
abstract forms a unique presence that is subtly spooky, animated by the silent
laughter of beings from other dimensions. – Jan Verwoert, 2013
As fall sets in and our summer sun gazing comes to an end, I have found myself looking towards the ground, hunting for pebbles, fallen leaves and seed and nuts that have tumbled to the ground marking the change in season. Perhaps it's because of this transition that I am drawn to the work of Swedish artist Malin Gabriella Nordin and all its organic regalia. An artist after my own heart, Nordin utilizes found images to inspire her collages, many of which are centered around color, form and surface.
I am particulary drawn to how she jumps in scale to create these friendly-looking wooden sculptures that isolate her two-dimensional biomorphic shapes and brings to life in human scale. It is this physical encounter that she explores in her artist book Private Language, where the above excerpt was plucked from by critic and curator Jan Verwoert. I'm hooked on Nordin's work and I was so excited to see that she has a limited edition of prints available from Little Paper Planes, too!
Pedro himself looking dashing here in his 1984 film, "¿Qué he hecho yo para merecer ésto?" // "What have I done to deserve this?". Happy 65th birthday, you look AMAZING!
Nestled sweetly amongst my FRIENDSHIPS page, you will find loads of artists and partners in crime that I have had the pleasure of knowing, working with and sharing a laugh or two with...or three or four, or perhaps even almost stopped breathing because I was laughing so hard.
One such favorite of mine is Ariel Evans, a PhD Candidate in Art History at The University of Texas and editor of Pastelegram magazine based out of Austin, TX. Though started in central Texas, the online and print publication is concerned with issues globally and historically through the exploration of archives and the artistic process—all while having a killer sense of humor. If you thought Art Historians were no fun, let the team behind Pastelegram prove you wrong. Below you'll find a few of my best-loved projects, but I highly urge you to exhaust their cleverly built website for all kinds of treasures!
Pastelegram’s title comes from a list of possible car names by the poet Marianne Moore. The auto that Ford later christened the “Edsel” might have been called “Bullet Cloisoné,” “Varsity Stroke,” “Utopian Turtletop,” “Thunder Crester” or “ Pastelegram” (among other possibilities). As the name for an art magazine, it intentionally withholds meaning: there is a story but it is one that you must find in the archive of someone else.
Essentially, Pastelegram is a method for examining contemporary visual work, a method that involves looking at the varied sources that affected the work’s ultimate creation. It is reading around a work by looking at its archive rather than reading an authority’s interpretation about the work.
We publish a print annual and an array of internet projects. Through our experimental and innovative format, we encourage serious engagements with living artists and art writers from diverse audiences. Pastelegram’s focus is artists’ archives, which we explore through commissioning new works from living art workers (for either print or online publication) as well as maintaining several online collections of artistic working materials, such as sketches, architectural renderings and book collections.
ONLINE ISSUE 6
This is a partial record of the closet in Chuck Ramirez’ home office in San Antonio, Texas, which also functioned as a studio until his untimely death in 2010. In it, the artist stored artwork, keepsakes and snapshots dating back to his high school years. Ramirez’ home is now a living archive, and the site of the Casa Chuck Arts Residency, an international invitational program for curators and writers.The images in this group are unedited, downloaded directly from my phone, and selected from an archive of over 3000 such photographs taken during the course of slightly over two years.
As a person interested in many things I have difficulty focusing
I love the blurry and banal
Folk signage: KEYS CUT HERE
Old traditions of fine craftsmanship
The spontaneity of a child’s scribble
I believe in the phonetics of materials and the grammar of space
I’m interested in the invisible systems of the everyday
Twisting a joke out of the mundane
The subjectivity of words
Perception and the complexity of the human eye
Loops, self-referentiality, pangrams
Ridiculous self-imposed constraints
Collecting, archiving, processing, filtering, editing
Patterns and the quest to discover them
The rich history embodied in a rusty tool, or threadbare quilt
Skipping while frowning
Recognizing social and urban phenomena
The peculiarities of human behavior
Pointing at things
Directing attention to something easily missed
Grouping like things together (or unlike things)
Bouncing things against each other
Shifting focus and contexts to widen Art’s lens
The drive to relate to things
Missing the exit
Doing the The Hokey-Pokey to the Macarena song
Doing the Macarena to the Bird dance song
Hope and Humiliation
Affinity toward all colours known and unknown
Colouring outside and reading between
I'm currently infatuated with the work of Vancouver-based artist, Ben Skinner, ever since I stumbled upon his work via The Jealous Curator. I also really love his artist statement (above) which reminds me of the LIKES/DISLIKES project I was just a part of. I have been saving my pennies to get one of his sculptures from his recent body of work SAME SAME, an ongoing series of brick sets made of plaster and in wildly delicious marbled hues with phrases like CHOP CHOP, KISS KISS, NO NO and other playful colloquialisms. These works alongside paintings, drawings and installations are currently on view at Vancouver's Back Gallery Project.
“On rainy afternoons, embroidering with a group of friends on the begonia porch, she would lose the thread of the conversation and a tear of nostalgia would salt her palate when she saw the strips of damp earth and the piles of mud that the earthworms had pushed up in the garden. Those secret tastes, defeated in the past by oranges and rhubarb, broke out into an irrepressible urge when she began to weep. She went back to eating earth. The first time she did it almost out of curiosity, sure that the bad taste would be the best cure for the temptation. And, in fact, she could not bear the earth in her mouth. But she persevered, overcome by the growing anxiety, and little by little she was getting back her ancestral appetite, the taste of primary minerals, the unbridled satisfaction of what was the original food. She would put handfuls of earth in her pockets, and ate them in small bits without being seen, with a confused feeling of pleasure and rage, as she instructed her girl friends in the most difficult needlepoint and spoke about other men, who did not deserve the sacrifice of having one eat the whitewash on the walls because of them. The handfuls of earth made the only man who deserved that show of degradation less remote and more certain, as if the ground that he walked on with his fine patent leather boots in another part of the world were transmitting to her the weight and the temperature of his blood in a mineral savor that left a harsh aftertaste in her mouth and a sediment of peace in her heart.”
― Gabriel García Márquez, One Hundred Years of Solitude
Such vivid visuals pop into my head when reading the words of García Márquez and believe my favorite book of his is Cien años de soledad/One Hundred Years of Solitude. He was a truly remarkable writer and a master of the literary genre known as magical realism. His rare vision will live on in his dreamy prose. RIP Gabo.
I am excitedly in the midst of planning a 4-day trip to New York City this coming May for art fairs, studio visits and more! I've never been to NYC in the Spring and I am looking forward to planning a trip when the weather is warmer since I am already well accustomed to sandals at this time in Texas. BUT I must say, out of all my planned art adventures I am most excited to see the work of Brazilian artist Lygia Clark (1920—1988) at the Museum of Modern Art for an exhibition showcasing the last 40 years of her career. Lygia Clark: The Abandonment of Art, 1948–1988 is the first comprehensive exhibit to be shown of Clark's work in North America with over 300 works drawing from both private and public collections, including MoMA's own.
From their press release:
This survey is organized around three key themes: abstraction, Neo-Concretism, and the “abandonment” of art. Each of these axes anchors a significant concept or a constellation of works that mark a definitive step in Clark’s career. While Clark’s legacy in Brazil is profound, this exhibition draws international attention to her work. By bringing together all parts of her radical production, the exhibition seeks to reintroduce her into current discourses of abstraction, participation, and a therapeutic art practice.
I was first exposed to the work of Lygia Clark in an amazing lecture course I took with the incredible Dr. Jacqueline Barnitz at the University of Texas at Austin. Dr. Barnitz pioneered the historical study of Latin American art at UT Austin and literally “wrote the book” on the subject: her Twentieth-Century Art of Latin America is based on her primary research and interviews with artists in Latin America and New York over four decades and is the standard text now used by teachers of the subject.
Lygia Clark, Bicho - Em si [Creature - In itself], 1962
Card, Adhesive tape, graphite
As Dr. Barnitz flipped through slides I was immediately taken by the stylish photo documentation of Clark's work. A trailblazer of the Brazilian art scene, Lygia Clark broke the mold with her paintings, later deciding that the canvas should not be considered the only plane option. As a student of painting questioning my own relationship to the canvas, I devoured information about how this artist would transform her mode of working. Soon she would free her art from the canvas, moving on to sculptures and the most interestingly sensorial objects which incited participation from viewers.
There is a fantastic blog post on which some of this text is drawn from on The Creator's Project site, plus lots of great texts like Dr. Barnitz's. I completely urge you to read further and discover why she is such an iconic artist of her times. I promise you'll be a fan, too, and just maybe I'll see you up in NY this spring checking out her work at MoMA.
Living like a lusty flower now for 67 years! Cheers Sir Elton!
I've been thinking a lot about density, volume and the general oomph of art objects lately and more and more I am drawn to chunky ceramics and sculpture. I just visited the beautiful exhibit Converging Lines that pairs the work of Sol LeWitt and Eva Hesse. Hesse's sculpture on view is sensual and meaty with forms heavy just begging for you to hold onto their love handles. The work of Brooklyn-based sculptor Stacy Fisher beckons similarly.
Green Sculpture with Painting, 2011 / Hydrocal, wire mesh, wood, repurposed latex paint, oil on canvas, 52 x 23 x 9 inches (sculpture), 8 x 6 inches (painting)
Fuchsia Sculpture with Wood, 2010 / Hydrocal, wire mesh, wood, repurposed latex paint; 49 x 25 x 7.5 inches
Installation View at BravinLee Programs, Familiar Places, 2013
Fisher separates her work currently into two series; one of groupings of objects all similar in size, shape and color and the the second more abstract and related to painting. It is the latter that is shown here and the playful push and pull of textured surfaces and found and created material is delightful. I especially love the conversation Fisher creates between the object, the pedestal and the wall. Fisher is also a member of a collective Art Book Club that consists of a group of artists in New York City that get together every four to six weeks to discuss an art reading, either a book, magazine or essay. I am pleased to have stumbled across her work in the vast online archive of Beautiful Decay and hope that I can see her work in person someday; I promise to keep my hands to myself!
This past weekend marked record highs in Austin for cedar pollen coming in with the highest count in over 16 years! What exactly does this mean? Well, if you are not plagued with itchy, swollen and miserably burning eyes and throat, good chance you are feeling loopy from the larges dosages of OTC allergy medicine you've been pumping into your system for the last 6 days. My current condition of self-medicated blurriness reminded me of the beautiful work done by Sarah Schönfeld. Focusing on the materiality of illegal drugs, Schönfeld began experimenting with substances like LSD, Kedamine and MDMA and not in the way you probably are assuming. Schönfeld exposed film negatives to liquid mixtures of multiple drugs with remarkable results. Each negative was then magnified and printed in large format to produce the body of work entitled All You Can Feel. These chemical self portraits have been compiled in her latest publication by the same name and the collection of them is stunning. Each drug is depicted with such vivid impact and chromatic vibrancy that it's not hard to imagine feeling the mind-altering effects of the substance coming through each print. For more about Schönfeld check out this interview she did with Klatblut.
Speed + Magic
Karel Appel was a Dutch painter, sculptor and poet born in 1921 in Amsterdam. Appel was heavily influenced by Picasso, Matisse, and most strongly by the French painter Jean Dubuffet known famously for championing work by 'outsider artists" or those that had been self taught. In his youth, Appel was a member of the Dutch Experimental Group created in 1948, as well as established the Cobra group from 1948 to 1951 with other painters from Copenhagen, Brussels, and Amsterdam. The Cobra Movement stood for creative freedom and experimentation, passion and vitality, and social engagement and the style distinguished itself through bold, expressive compositions inspired by folk and children's art. From this video clip, you get the sense of Appel's often described "barbarous" painting style, but the work I was most drawn to was his playfully layered sculptural work seen in the picture of him in his studio. The spirited little man depicted in Anti Robot from 1976 measures a whopping 20 feet high all made of metal, yet makes me smile everytime I see its picture. His work ranged from small scale paintings to large public installations, all of which demonstrate his characteristic frenetic energy and intense lurid colorings with a bit of something sinister mixed in, too. Not a fan of everything he produced, his true love for the act of painting definitely resonates with me and perhaps some day in the future I will find myself looking at one of his brushstrokes or sculptures in person. Amsterdam here I come!
Karel Appel, Anti Robot, 1976. Collection of Université de Bourgogne, Dijon, France.
Mural with glass appliqué in the restaurant of the Stedelijk Museum Amsterdam, 1956
Swedish artist Jonathan Josefsson is widely known for his graffiti works, and you know if you follow his Instagram feed @Ollio he still has a way with the colorful cans. However, I am most in love with the large-scale wooly wonders he's been creating as wall works for European gallery spaces. Biomorphic forms that are similar to his organic spray painting style, these carpets have heftier tactile qualities that beg to be embraced and fiddled with. A little reminiscent of the juicy wall-to-wall carpeted days of Alexander Girard, Florence Knoll and Herman Miller, I can't seem to get enough of them and here are only a few from his repertoire.
Perhaps one of the absolute highlights of my trip to Mexico City was the visit to Museo Frida Kahlo or Casa Azul, the homestead to Frida Kahlo & Diego Rivera, two giants in the history of Mexican painting. On a previous trip to D.F., I had the pleasure of visiting this quiet retreat nestled in Coyoacán, but this time was different because I knew that something special had happened in 2012. In November of that year, 300 items of clothing that had been locked away since her death in 1954 were released from their dusty cupboards and drawers and put on view for the public. Compiled into an exhibition curated by Circe Henestrosa Conoan entitled Appearances Can Be Deceiving: Frida Kahlo's dresses it is the first showing solely devoted to the artist's wardrobe and her approach to clothing as costume or performance. Completely enthralled with the delicacy of fabric and form, especially after spending time in Oaxaca with textiles earlier in the summer, I couldn't help but dream of swathing myself in layers in layers of lovingly stitched capes and skirts. As I wandered through the exhibit I began to better understand what it meant for Kahlo to use clothing as an extension and expression of her often tumultuous life one famously reported to be heavy with illness and romantic sorrow. The clothing, even sitting static, exuded a vibrating energy and I can only imagine what it felt like to enter a room in such regalia steeped in tradition. Only up until November of 2013, the opportunity to catch a glimpse of this collection is well worth the visit if you are in the area of Central Mexico.
BONUS! This very engaging video from the curator tells more of why the clothes were hidden for so long and lots more juicy details of Frida's life!
It is no surprise that my love for music bleeds into my day job. Last summer I created an auditory adventure for the University of Texas at Austin's Visual Arts Center called VAC Boombox. Created as a fun way for our visitors to learn about our creative collaborators during the months of hiatus, the VAC releases a new mix of Summer jams every Monday till we reopen in the Fall. This one is from the Austin-based sound and new media collective The Church of the Friendly Ghost and is especially apropos for today's celebration of Andy Warhol. Such a treat!
The incredibly lofty looking paintings of Joris Kuipers remind me of the cumulonimbus cloudbursts that have been filling the Texas landscape this stormy summer. The Dutch artist Kuipers utilizes monofiliment to carefully suspend layers and layers of organically shaped painted depron foam into piles of luscious looking color. While these are suspended freely within the gallery, Kuipers also creates lovely 2D watercolors and fantastic low relief wall works. I've got him bookmarked and will keep track of how things develop from his recent exhibit at Galerie Jaap Sleper in Utrecht shown here.
The Canadian artists Yannick Desranleau and Chloe Lum have worked together since 2000 and began the Seripop project in 2002. Creating wild installation work since then, their attention to bright Disney colors and imaginative use of material blew my mind. Seripop projects fill exhibition spaces with an amusement park of paper sculptures and compositionally mimic the design work they previously created when they worked together as designers creating poster work for numerous Canadian bands. Excitingly, from the looks of their long list of upcoming exhibitions, they have a full plate of projects coming up. Did I also mention they are musicians working together as the experimental noise band AIDS Wolf?! I am completely smitten and want to figure out a way to bring them to Austin, hmmmm....
The absolutely delicious textiles created by artist duo New Friends are making me feel so safe and cozy right now. Alexandra Segreti of Weird Friends and Kelly Rakowski of Nothing is New have been working together, remotely, for a while now creating a wild and wooly collection seen most recently at United Bamboo and Baggu. Segreti lives in Philly while Rakowski lives in NYC and they often concieve of work via email or epic texting sessions. A unique partnering practice, but the work is stunning. Follow them to find out more about their work and their current plan to weave in Rwanda.
I am absolutely smitten with the paper sculptures from UK based artist Richard Deacon. Deacon is known for an imaginative and sometimes unexpected use of materials—leather, concrete, laminated wood, steel, marble and ceramics—though his other work doesn't carry the same sensitivity to color and texture like these beauties from his recent exhibition Beware of the Dog at the Singapore Tyler Print Institute, where he handmade all the paper that constructed the 76 works on display. Makes me want to learn how to marble paper ASAP!
Today is John Lennon's birthday and I thought I'd take a minute to share my most memorable Lennon moment. My musical tastes were shaped, like many, by early doses of The Beatles by way of Magical Mystery Tour and HELP!. From the time I was old enough to put the needle on the record, I was hooked on anything Paul, John , George and Ringo did. I was born several months after John Lennon was killed—and decades after The Beatles had called it quits—but my father's genuine love of their work fueled my passion. I must have been 15 years old when I stumbled upon this 1971 footage of The Dick Cavett Show with Lennon and Yoko Ono as guests and I was captivated. "How real they are!" My 15 year old mind was blown! It was my first taste of conceptual art work, and its politics and potential impact. I can honestly say that this silly talk show changed my perspective on a lot of things, but especially on what it meant to be an artist and a human being in tumultuous times. Really, it's one of my faves and super interesting to revisit as an adult.
I just discovered Lee Towndrow's lovely photo portraits via Miss Moss and they are captivating! To me they recall the imagined landscapes you carved out of cardboard boxes and over stuffed pillows as a child. These portraits are serious and quiet, but there is also a playfulness about them as Towndrow juxtaposes bright swaths of Disney-colored paper around her subjects. On a sidenote, I have been really interested lately in simple architectual environments as a stage for the human body. I've been watching lots of Charles Atlas and Merce Cunnigham videos, but more on that later...
Image Credit: Paper Portrait of Steve Kado by Lee Towndrow
Just thinking fondly of Cy Twombly and his profound body of work. He passed away around this time last year and I thankfully am lucky enough to live super close to Houston's Cy Twombly Gallery and my favorite painting, Untitled (Say goodbye cattullus, to the shores of Asia Minor)
Image by Horst P. Horst in 1966 and appeared in Vogue's Book of Houses, Gardens, People published in 1968