In 1847, French jeweler Louis-François Cartier established a business that bore his last name and specialized in jewels and precious trinkets. About five decades later, the company’s focus expanded to include accessories of its own design. One of Cartier’s grandsons, Louis, joined the family business as its creative director, and set out to find inspiration for developing a distinct visual language that Cartier could call its own.
At the time, Paris was the epicenter of the Islamic art trade, and Louis learned firsthand about the geometric shapes and unexpected color combinations that decorate items from Islamic culture by visiting exhibitions on the subject—including ones at the Musée des Arts Décoratifs—and traveling to several countries, including Egypt, India, and Turkey. He sent his younger brother, Jacques, an expert in precious stones, to India and the Persian Gulf to experience the culture, connect with potential clients, and bring back objects and materials, such as natural pearls, for them to behold. “Beauty, and the curiosity to discover different forms of it, are foundational principles at Cartier,” says Pierre Rainero, the company’s director of image, style, and heritage. “We’ve always looked for beauty elsewhere, in non-Western cultures and in other disciplines.”
A just-opened exhibition at the Musée des Arts Décoratifs titled “Cartier and Islamic Art: In Search of Modernity” (on view through Feb. 20, 2022) explores the lasting impact such pieces have had on the house’s designs. (It will travel to the Dallas Museum of Art, which co-organized the project, next spring.) The show, designed by Diller Scofidio + Renfro (whose co-founder, Elizabeth Diller, was the guest on Ep. 9 of our Time Sensitive podcast), features more than 500 pieces—including Islamic art, books, jewelry, and objects as well as photographs, documents, and other artifacts from Cartier’s archives—that illustrate the creative process that shaped the house’s now-signature style.
The presentation is divided into two parts that form a chronological timeline from the start of the 20th century to today. Visitors first encounter a section focused on the emergence of Islamic art and architecture in Paris, and pieces the Cartier brothers turned to as muses. Among them are objects from Louis’s personal collection, including Indian jewelry, Persian miniature drawings, and opulent Indian pen boxes, set with gold, turquoise, and ivory.
The second half demonstrates how elements borrowed from Islamic art manifest in Cartier designs. While surveying the intricate pieces, some might notice how the motifs on the bindings of the books Louis owned are reproduced, pared down, or reworked to form new patterns. Others may regard increasingly bold mixtures of hues and materials, such as a striking “bib” necklace made from gold, platinum, turquoise, amethyst, and diamonds. Commissioned by the Duke of Windsor for the Duchess of Windsor in 1947, the necklace exhibits the same vibrant blue and violet composition found in Indian enamels. There’s also a diamond-encrusted platinum-and-turquoise tiara from 1936 that reproduces a delicate paisley motif from a headpiece worn by a “female tumbler” seen in a 19th-century Persian painting. A few cigarette cases even incorporate actual cut-outs from Persian miniature drawings onto their enameled and diamond-set surfaces.
Looking at the range of works on view, the exhibition seems to suggest that the influence of Islamic art extends far beyond the jewelry house, and into other cultures and societies across time—a sentiment that Cyrille Vigneron, Cartier’s president and CEO, voiced at the exhibition’s opening last week. Reinterpreting “the richness of other cultures,” he says, “if done respectfully, and without misappropriation, can lead us to create even more beautiful things.”
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Since 1915, New York Public Library users in search of visual information have consulted its Picture Collection. It consists of images cut from magazines, catalogues, and books, each glued to backings and organized into folders enc
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In Chicago, more than 10,000 city-owned lots currently sit vacant, concentrated within predominantly Black and brown comChicago Architecture Biennial in 2015. Now, as the latter biennial’s 2021 artistic director, Brown further expands upon his project, using it to info
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Floral jewelry has been a tradition of the French jewelry house Van Cleef & Arpels since it opened its first boutique atFlorae” (on view through November 14), presented alongside floret-filled photographs by Japanese photographer and film directo
In 1983, French photographer Simon Chaput arrived in New York City for a weeklong trip, and ended up staying for nearly –1991) in California and Japan to “The Floating Piers” (2014–2016) in Italy. Along the way, in 1984, Chaput met the artist and sculptor Isamu Noguchi, who recognized Chaput’s love oNew York,” which he began in 1996, that chronicled the developing built environment of Lower Manhattan.
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As Paris emerges from lockdown and its streets come alive, the Fondation Cartier pour l’Art Contemporain, an art center Cherry Blossoms” (on view through January 2, 2022), an exhibition of expressively impastoed, large-scale oil paintings by British artistold the BBC. “My mum used to say, ‘There’s enough horror in the world. Why can’t you just paint flowers?’ So maybe she got to me.”
Los Angeles–based journalist Doree Shafrir sees beauty in the particular challenges faced by those who find their footin, pours her lighthearted yet critical perspective on her experience into Forever35, a self-care podcast she co-hosts with her longtime friend Kate Spencer, and into her new memoir, Thanks for Waiting: The Joy (& Weirdness) of Being a Late Bloomer (Ballantine Books), out this week. In the book, she interrogates the often overwhelming pressure that people—particular How do you start your mornings?
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“Clouds are not something to moan about,” Gavin Pretor-Pinney says in a 2013 TED talk. “Far from it. They are, in fact, the most diverse, evocative, poetic aspect of nature.” Pretor-Pinney, a British authoThe Idler, a magazine that extols the virtues of slowness, became fascinated with clouds after noticing them in the skies depicte
To showcase the world’s most inventive designers, the London Design Biennale invites participants who represent their coEp. 75 of our At a Distance podcast, recorded last September. “I thought, Well, who do I identify with?”
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Maxine Bédat’s New Book Traces the Lifespan of a Pair of Jeans to Illustrate the Ills of Fast Fashion
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To stay healthy, we know that our bodies need nourishment, hygiene, and exercise. According to those who study neuroaestEp. 34 of our At a Distance podcast) who runs the International Arts + Mind Lab (IAM Lab)—an initiative at John Hopkins University’s School of Medicine that connects brain scientists with artists to Arts + Health & Wellbeing, an immersive online tool kit that offers visitors an engaging dose of art, and consequent mental fitness, from anywherEp. 11 of our Time Sensitive podcast.)
“A question I get asked a lot is, ‘How do I get your job?’” says stylist Kate Young. “That answer is complex, because pe10th episode of Hello Fashion, created with The Slowdown.
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From a fashion perspective, the Golden Globes stands apart from other award shows for its timing: The event, during whicleft at that point,” says stylist Kate Young in the ninth episode of Hello Fashion (created with The Slowdown), noting that she usually starts working on Globes outfits around Halloween. For the episode
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Arts education opportunities faded fast for kids in the learn-from-home fog of Covid-19. That’s where The Look Make Show, a new TV program by New York City’s Children’s Museum of the Arts, hopes to come in. The cartoon, of which the creatorKickstarter campaign through May 14, focuses on Rod and Coney, two rotund, charismatic artists who refuse to let the pandemic get in the way
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When attending runway shows, stylist Kate Young keeps her eyes peeled for premiere dresses—gowns to be worn by actressesOn the sixth episode of her YouTube show, Hello Fashion, created with The Slowdown, Young talks about her process for selecting and securing premiere dresses, and highlights f
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How Spanish Culture and Color Informed the Styling and Art Direction of Selena Gomez’s New “Revelación” Album
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Earlier this month, Francesca Johanson, editor of the Architectural League’s online publication Urban Omnibus, launched Memory Loss,” a new series with Guernica magazine. These essays seek out sites of remembrance in New York City, addressing a “continuum between private and publ
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In 1617, German artist Jobst Harrich completed an oil painting on a copper canvas. The work, which depicts a flaxen-hairposted Harrich’s painting to her feed and tweeted, “maybe if I take my tit out they will stop explaining my own joke back to me.” She applied this tactic to“Conversation in a Park,” depicting a gent gesturing toward a stoic lady (“you would be so much prettier if you smiled”), and a 1959 Norman Rockwell cover for the Saturday Evening Post, which portrays eleven men ganging up on a lone woman in a jury room (“thanks I’m gay now”). The thread went viral. A fMen to Avoid in Art and Life (Chronicle Books), sold out within days of its release. It features more than 90 artworks accompanied by wince-worthy c
An art critic, curator, and author, Antwaun Sargent has become a leading voice for a rising class of Black contemporary The New Black Vanguard: Photography Between Art and Fashion (Aperture), Sargent is serving up his next, as the editor of Young, Gifted and Black: A New Generation of Artists (D.A.P.), highlighting the works of Black artists from the Lumpkin-Boccuzzi Family Collection of Contemporary Art. An exhibition of the same name is currently on view at the Lehmann College Art Gallery (which is temporarily closed due to Covid-19)
New York–based artists and brothers Steven and William Ladd have been creating together for 20 years, using their comple“The Other Side,” on view through Oct. 17 at the Invisible Dog Art Center in Brooklyn’s Boerum Hill neighborhood, the Ladds have welcomed. Offering visceral and emotional depth to a population of society so often silenced and anonymized behind closed doors, t
Election season is upon us here in the U.S., and with all of the anxieties circulating around—pandemic-related risks, poThis is What Democracy Looked Like: A Visual History of the Printed Ballot (Princeton Architectural Press), a new book by Alicia Yin Cheng, a founding partner of the Brooklyn-based graphic design
Brooklyn-based writer and artist Edith Zimmerman served as the founding editor of The Hairpin—the former general-interest women’s website that defined a generation of online journalism, with pieces like the perenn“Women Laughing Alone With Salad”—and has gone on to contribute to outlets including The New York Times Magazine, The Cut, and the podcast This American Life. These days, you can find her work in Drawing Links, a frequently published newsletter of comics and musings. We recently polled Zimmerman about her current media diet. He
You are what you Google and “like.” This is an eerie truism of 21st-century life, where our experience of reality is larThe Social Dilemma, a new docu-drama premiering on Sept. 9 on Netflix, delves into the dangerous human impact that social networking has oCenter for Humane Technology (and our guest on Ep. 35 of At a Distance), says in the trailer: “If technology creates mass chaos, loneliness, polarization, more election hacking, [and] more i
Our summer quarantine days have far too often been spent gazing at web browser windows—far and away from vacation views,Window Swap, a mash-up of the virtual and physical. Designed as a “quarantine project” by creatives Sonali Ranjit and Vaishnav Bala
For the past five years, as one of the co-founders of the annual “JONALDDUDD” exhibition, designer Lydia Cambron has put on one of the most consistently surprising and challenging presentations of
School’s out forever—or at least for the immediate future, depending on what city you live in—and it’s certainly taking hands-on lesson plans, open-sourced and free to download, that are inspired by artists and objects from its permanent collection. “Fashioning
There’s a formula for homicide news stories: Place a TV anchor at the scene of a crime, and state that a victim was shotfatally shot in the U.S., including suicides and accidents. The sheer volume of incidents makes them easy to tune out: We don’t know
Five months on, living in a pandemic has become a new liminal normal, shifting our gaze toward the familiar sights, soun“Pandemic Objects,” an ongoing editorial project that highlights and reflects upon everyday objects (defined in the broadest sense) that hathe gaze of the drone, which has seen a surge in use worldwide in recent months, with people dispatching them in their hometowns—even to takejump rope that gives her pause as she riffles through the museum’s archives, uncovering photos, artworks, and accounts about the
The Internet Archive is one rabbit hole we’ve willingly jumped into more than a handful of times since the quarantine beWhole Earth Catalog, the 1960s counterculture print publication often referred to as “the web before the web existed”—its iconic, jam-packeElectric Whole Earth Catalog, now available on the site. Originally launched in 1998 on CD-ROM (how quaint!), the lo-fi “electric” edition offers a
Home is where the heart is—but, on the silver screen, it can be a bit forlorn. In his recently published broadside publiSad People in Modernist Homes in Popular Films, Los Angeles–based designer and art director Benjamin Critton explores the much-maligned trope of the Modernist home in popular culture, with contributing essays from writers Erik BSad People—the long-awaited follow-up to his 2010 edition, Evil People in Modernist Homes in Popular Films—and what filmic mood may strike him next for volume three of the ongoing project.
Geographer and environmental anthropologist Gina Rae La Cerva spent three years journeying around the world in search of undomesticated food for her new book, Feasting Wild: In Search of the Last Untamed Food (Greystone Books). We recently caught up with La Cerva, currently stationed in Santa Fe, to ask about her media diet. (Ep. 39 of At a Distance.)
For more than 25 years, Paola Antonelli, the director of R&D and senior curator of design and architecture at New York’sDesign Emergency, Antonelli has teamed with renowned London-based design critic Alice Rawsthorn to explore the role design has played—anEp. 25 of our At a Distance podcast.)
States across the U.S. may be entering Phase 2 of post-lockdown reopenings, but short of a vaccine, public health expertQuarantine Coloring Book, uploading a new free, downloadable image by a different illustrator each day. The project exploded overnight, with thoAccording to research, coloring can have a similar effect on our minds as meditation, helping to ease anxiety, fears, and restless thoughts—i
As museums around the world (or, most of them, anyway) remain closed, and a once-global calendar of openings and festiva@covidartmuseum—started on Instagram by three Barcelona-based art directors, Emma Calvo, Irene Llorca, and Jose Guerrero—has become som
For the better part of the past decade, Cindy Trinh has been documenting social justice movements around New York City with her ongoing Activist NYC project. Here, Trinh, a photographer with a background in law, shares her observations on the current Black Lives Matte
Melbourne-based Kai Brach, a former web designer and the publisher/editor of Offscreen, an independent print magazine about technology, and Dense Discovery, a weekly newsletter about productivity and inspiration, shares his current media diet with us—and why he firmly believ