Category Archives: DESIGN


The beautiful exhibition catalog for MADE IN L.A. 2020: a version—available to order from the Hammer Store—includes a folio of collages by Hedi El Kholti bound into the book, as well as a conversation with El Kholti and Chris Kraus. The artist-designer-editor has also created two posters, available as exhibition takeaways at the Hammer Museum and the Huntington.

El Kholti’s work can also be seen in Because Horror by Johnny Ray Huston and Bradford Nordeen—a recent publication from Dirty Looks Press and Semiotext(e).

All images © Hedi El Kholti—courtesy of the artist, the Hammer Museum, and the Huntington Library, Art Museum, and Botanical Gardens—from Made in L.A. 2020: a version (2020), the catalog for the exhibition curated by Myriam Ben Salah and Lauren Mackler, with Ikechukwu Onyewuenyi.


A more collaborative and sharing practice has always been important to me as a counterbalance to the more studio-intensive things that I create on my own. It can be super lonely just making these incredibly detailed paintings. So I have always needed that balance of also doing things that have a different set of criteria, where you are not just relying on your own set of ethics or style. And I would say working closely and productively with someone from a different discipline—as is the case with Beca and me—is a brilliant experience.* Sometimes it can be complicated collaborating with another fine artist, but with design, there is just so much more flexibility and space for each person to come to the fore at different times. — Lucy McKenzie

Painting, design, installation, Madeleine Vionnet, and Zoya Kosmodemyanskaya all come together in NO MOTIVE, the new show by McKenzie now on view in New York.


Through April 24.

Galerie Buchholz

17 East 82nd Street, New York City.

*Beca Lipscombe is McKenzie’s partner in the fashion label Atelier E.B.

Lucy McKenzie, No Motive, Galerie Buchholz, New York, March 5, 2021–April 24, 2021, from top: Leaning Mannequin (Roman Statue/ l’Orage), 2021, fiberglass, acrylic and oil paint, silk dress with gold braid, gym shoes; Metal (Alan Potter), 2021, oil on board, and Quodlibet LXX, 2021, oil on board; Unfinished Mannequin Portrait III, 2021, oil on canvas; Ethnic Composition (Moldova, Russian Ethnographic Museum), 2021, acrylic and oil on canvas; Sitting Mannequin (Greek pottery/Quatre Mouchoirs), 2021, fiberglass, acrylic and oil paint, belted silk dress, gym shoes; No Motive installation view, (left) Unfinished Mannequin Portrait II, 2021, oil on canvas, (right) Leaning Mannequin (Polychrome/l’Orage), 2021, fiberglass, acrylic and oil paint, silk dress with gold braid, gym shoes; No Motive installation view, (left) Coloured textiles (Joseph Linley), 2021, oil on board, and Quodlibet LXXII, 2021, oil on board, (right) Beige textiles (attributed to Joseph Linley), 2021, oil on board, and Quodlibet LXXI, 2021, oil on board; Unfinished Mannequin Portrait I, 2021, oil on canvas; Leaning Mannequin (Polychrome/l’Orage). Images © Lucy McKenzie, courtesy of the artist and Galerie Buchholz.


Order was always wishful thinking for me. For sixty years I have produced disorder in files, correspondence, and books. In my work, however, I have always aspired to a distinct arrangement of typographic and pictorial elements, the clear identification of priorities. The formal organization of the surface by means of the grid, a knowledge of the rules that govern legibility—line length, word and letter spacing, and so on—and the meaningful use of color are among the tools a designer must master in order to complete his or her task in a rational and economic matter. — Josef Müller-Brockmann

THE SWISS GRID—an exhibition that “explores the development and impact of the International Typographic Style”—is now in its final weeks at Poster House.*

See link below for details.


Through February 14.

Poster House

119 West 23rd Street, New York City.

The Swiss Grid, Poster House, New York, February 27, 2020–February 14, 2021, from top: Josef Müller-Brockmann, Musica Viva, 1958, Tonhalle-Gesellschaft, Zürich; Armin Hofmann, Junge Holländische Bildhauer, 1960, Kunsthalle Basel; Robert Büchler, Typographie, 1962, Gewerbemuseum Basel, unmodified and modified; Richard Paul Lohse, Ausstellung Musikinstrumente, 1962, Kunstgewerbemuseum, Zürich; Armin Hofmann, Stadt Theater Basel, circa 1963–1967; Emil Ruder, Berlin, 1963, Gewerbemuseum Basel; Armin Hofmann, Giselle, 1959, Basler Freilichtspiele. Images courtesy and © the artists, their estates, and Poster House.


This week, Nicholas Fox Weber—executive director of the Josef and Anni Albers Foundation—will join David Zwirner gallery’s David Leiber for a conversation about Fox Weber’s new book ANNI & JOSEF ALBERS: EQUAL AND UNEQUAL.

The online discussion will be moderated by Lauren Hinkson, associate curator at the Guggenheim. See link below to register.


Phaidon and David Zwirner

Wednesday, November 18.

10 am on the West Coast; 1 pm East Coast; 6 pm London; 7 pm Paris.

Top: Josef Albers, photographs of Hawaii (Anni Albers and Josef Albers), 1954. Image © 2020 the Josef and Anni Albers Foundation / ARS, New York / DACS.

Above: Nicholas Fox Weber, Anni & Josef Albers: Equal and Unequal (2020). Images (8) courtesy and © the Josef and Anni Albers Foundation and Phaidon.

Below: Josef Albers and Anni Albers. Image © 2020 the Josef and Anni Albers Foundation / ARS, New York / DACS.


DOMESTIC OPTIMISM—a show by Emma Wolf-Haugh—opens this month in Austria.

An exhibition about mangled and mistold modernist legacies, the project begins with furniture, inanimate objects that come loaded with social connections and invisible histories. Through the displacement of cultural detritus Wolf-Haugh retells modernist architectural history in the collective key of queer-feminist and decolonial practices, continually unearthing filth in times of hygiene, and complicating things that were never simple to begin with.*



Opening: Thursday, September 24, 3 pm to 7 pm.

Exhibition on view through November 20.

Grazer Kunstverein

Palais Trauttmansdorff

Burggasse 4, Graz.

Emma Wolf-Haugh, Domestic Optimism, Act One—Modernism: A Lesbian Love Story, Grazer Kunstverein, September 24, 2020–November 20, 2020. Images courtesy and © the artist.