@tmagazine

: The sunroom of hotel developer Jayson Seidman's (@thebasic) New Orleans home looks out on a pea gravel patio and tropical yard. Inside are a vintage green swivel chair bought in Texas, a hand-painted wicker couch and chair purchased at auction and rugs that belonged to his grandmother. Click the link in our bio for more. Photo by Dean Kaufman (@kaufmanprojects).

After stumbling upon a very tiny flower vase made of sterling silver at a flea market, which she wanted to wear as a necklace, began sketching ideas with a silversmith in Spain. Her early creations were instinctive and macabre, inspired by animal skulls, scorpions and even X-rays of her own skeleton. In 1974, she joined Tiffany & Co. (@tiffanyandco) as a designer, where her sinuous and sculptural pieces — such as the Bean, Diamonds by the Yard and the Open Heart — quickly became signatures of the 1837-founded American jewelry house. That same year, Peretti traveled throughout Jaipur, India, and the city’s glittering light inspired her to begin working with mesh, with results that included chain-mail earrings, woven sterling-silver evening bags and, most memorably, her malleable gold mesh collar, which originally appeared in 1997. Free-form and fluid, it contours like fabric around the neck, with diamonds that resemble droplets of dew. The brand’s 2020 iteration, made of yellow gold, is dotted with 66 hand-set diamonds, totaling 3.72 carats. But Peretti's initial design hasn't changed much. As Reed Krakoff, Tiffany & Co.'s chief artistic officer, says, “Her pieces transcend time.” Written by Lindsay Talbot (@lindsay_talbot).

: In the chef Soufiane Lezaar’s home in Morocco, several walls are hung with his agglomeration of international plates, ranging from Dutch Delft to Japanese Imari. In the eat-in kitchen, which is separated from the bedroom by a Berber matrimonial handira, a northern Moroccan morfa wall shelf that houses a collection of owl figurines hangs above the dining table and a pair of spindle-back chairs. Click the link in our bio for moree. Photo by Guido Taroni (@guidotaroniphotographer).

In each installment of The Artists, T highlights a recent or little-shown work. This week, we’re looking at a previously unpublished photo of an untitled performance by David Hammons involving the Henry Ward Beecher Monument in Brooklyn, New York. Normally, the artist would offer a few words putting the work in context, but since Hammons does not, as a general rule, do interviews, Daniel S. Palmer, a curator for New York’s Public Art Fund, takes us through the piece. “During a series of telephone conversations I've been having with David Hammons about this country's problematic monuments, he calmly mentioned: ‘Sometimes I put clothes on the sculptures,’” writes Palmer, with whom the artist then shared the above photo, taken around 2007. “It is exactly what he described: an image of him in a blue sweater and black hat wrapping his red-and-orange scarf around the head of a bronze sculpture of a Black woman standing on the base of the Henry Ward Beecher Monument in Brooklyn's Columbus Park during a snowstorm.” While Beecher, the 19th-century abolitionist, is heavily cloaked, this woman is clad in loose-fitting, threadbare clothes and is barefoot, too. “This contrast is why Hammons's action is so powerful,” writes Palmer. “He explicitly articulates the fact that her Black body matters and is worth caring for...and how the monument neglects to appropriately convey this truth and how this failure is reiterated with every snowstorm she is forced to endure.” Click the link in our bio for more.

Four years ago, at the age of 101, the Cuban-American abstract artist Carmen Herrera had one of her first major solo exhibitions, at the Whitney Museum of American Art. “There’s a saying that you wait for the bus and it will come,” Herrera told T Magazine in 2015. The show brought critical acclaim to the pioneering minimalist whose oeuvre is defined by crisp lines, bold colors and geometric abstraction. Now, at 105, she has a new show at the private exhibition space the Perimeter in London. “Carmen Herrera: Colour Me In” features pieces — eight paintings, four works on paper and two wall-based relief sculptures — made between the mid-1980s and the early ’90s, picking up from where the Whitney exhibition left off. While that show focused on Herrera’s development from her time in Paris to her first decades in New York City, where she moved in 1954 and still lives and works, this one — as its title suggests — delves into her later experimentation with color, when Herrera shifted from more dissonant palettes to varying shades of blues or yellows layered on top of one another. Click the link in our bio for more. Written by Nancy Coleman.

The Flemish designer Dirk-Jan Kinet (@dirkjankinetinteriors) had already been living in Mexico City for over a decade when he became fixated on a stately townhouse in the Centro Histórico that he passed on his daily walks to a nearby bakery. After a bit of convincing, the owners, who had been using the building as a warehouse, agreed to rent it to him. Kinet moved in in 2010 and, by continuously buying and selling the antique furniture, art and kitschy objects that fill its rooms, has kept the space as dynamic as the surrounding neighborhood ever since. There are certain constants, though, among them the house's stone-paved patio and this neo-Gothic glass door, which leads from the central courtyard to the kitchen. Click the link in our bio to go inside the ever-evolving townhouse. Written by Michael Snyder (@mtpsnyder), photo by Lorena Darquea (@loredarquea).

For our series, we ask prominent Black American artists to share a work of art, whether their own or one created by another, that shows Black people in moments of joy, hope, dignity, pride, sorrow or agency — in other words, in the fullness of life. Pictured here is a still from “America,” a 2019 film project by Garrett Bradley (@garrettgarrettbradleybradley), who said this of the work, which will be shown at MoMA this fall as a multichannel video installation: “‘America’ is a visual chronology spanning from 1915 to 1926 and was inspired by the 1913 film ‘Lime Kiln Club Field Day,’ starring Bert Williams and Odessa Grey. MoMA discovered it unassembled about 100 years after its making and it's thought to be one of the earliest known cinematic accounts that is in service of a Black American vision. So although we see Williams in blackface, we can’t ignore the beauty of those surrounding him, or the joy and pleasure and real knowing from the ensemble that we witness. And Bert’s character remains nuanced, still. A 2003 Library of Congress survey estimated that some 7,500 films made between 1912 and 1929 are missing, and so I started ‘America’ based on the idea that those films, too, might have been equally progressive, equally nuanced. This image is from a scene in my film focused on 1916, the same year Woodrow Wilson established the Boy Scouts of America. I was working toward the idea of asserting new American memories, new symbols for our history. The kids in the film were students of mine and are also young artists themselves. Really, the heart and soul of the project is both to honor the achievements of Williams's work while also recreating how we understand what is classic, wholesome and innately American.”

Radical insularity was for centuries a way of life on Murano, the small island less than a mile north of Venice known for its blown glass with rich hues and vibrant swirls. This was to protect trade secrets, but, like sand, the main component of glass, such expertise is impossible to fully contain. Also, now that the number of glass operations on the island has dwindled, its remaining makers have become more open, allowing, in part, for an aesthetic rediscovery as a new generation of international designers turns to Murano for inspiration. For the members of this emerging group, Italian blown glass is innately modern, though they add their own perspective as well. Pictured here are recent works by Murano Glam, Andrew O. Hughes and Stories of Italy. Click the link in our bio for more. Written by Nancy Hass, photo by Hugo Yu (@_hugoyu).

: In the living room of the interior designer @NicoloCastelliniBaldissera's Milan home, Rex and Regina coffee tables from Casa Tosca, a custom rug by Fedora Design, a sofa upholstered in C&C Milano’s velvet Fenice with antique passementerie and artwork by Cornelia Parker, flanked by octagonal sconces designed by Castellini Baldissera and a 16th-century armoire painted with a view of Montalcino. Click the link in our bio to see more. Photographed by Guido Taroni (@guidotaroniphotographer).

Before the pandemic made it dangerous to travel, the Los Angeles-based Kneeland Co. founder Joanna Williams (@jleighwms) was constantly crisscrossing the globe — visiting countries such as India, Mexico, Turkey, France, Italy and the United Kingdom as part of her job running a vintage textile library and consulting service for luxury brands and designers. Earlier this year, inspired by the artisans and makers she met along the way, Williams decided to open a shop called Rarities, which adjoins her showroom in the historic West Adams neighborhood of South L.A. There, you’ll find a myriad of pottery, textiles and other handicrafts, from vintage ceramic Staffordshire dogs to beautiful block-print textiles by Gregory Parkinson to colorful Oaxacan flower candles, each with a story behind it. “I wanted to share that sense of discovery,” said Williams. “It’s about finding something you can cherish,” she added. “I like things that leave a lasting impression.” Click the link in our bio for more. Written by Kerstin Czarra (@kczarra), photo by Lily King.

It’s hard to go wrong with any kind of cozy knit, but, this fall, why not opt for an oversized and rainbow-hued option? Click the link in our bio for more on this and other early fall essentials, from airy dresses to bright bags, that will extend the feel, if not the reality, of summer. Photo by Ward & Kweskin (@wardkweskin), styled by Angela Koh (@ang.koh).

: In the textile designer @NathalieFarmanFarma's childhood home in Greenwich, Conn., a pair of twin beds upholstered in Décors Barbares’s cotton percale Feuilles Nina, dressed with vintage D. Porthault linens and American quilts, flank a Swedish table. The curtains and wall covering are Décors Barbares’s cotton percale Zénaide. Click the link in our bio to see more. Photographed by @RafaelGamo.