![]() If you have a spare hour and seven minutes in Miami, you can sit on a Claude Lalanne bench and watch the performance looping on four screens. It was a gift from my wife and me to 120 of our friends. As you enter the space, you start to hear Gluck's opera Orfeo ed Euridice, a production of which I staged at my apartment for my 30th wedding anniversary. I find postwar German art particularly moving and meaningful. Next is the Deutsches gallery, where I have my many works by Georg Baselitz and Anselm Kiefer. There we've installed nine bronze boxes I've created, along with 48 Robert Mapplethorpe photographs-very striking. Then you come to a gallery upholstered in black leather, something that obviously makes me feel good. People who have not seen these very big projects may think, Who knew? Most of them imagine that I only do stores. And there is a room devoted to architecture, presenting completed buildings as well as unrealized designs for competitions I've won. It features a wall of Richard Prince paintings based on De Koonings, Picassos, and the like. Another room I refer to as Art About Art. There is an area with portraits of me, because I am my own creation. From there you move into Pop Art, with my Warhols, Joel Morrisons, and Damien Hirsts. The first gallery showcases work done in black and white, including a glass-bead sculpture by Jean-Michel Othoniel-one of five commissions for the exhibition. Most of the show is what I would call young and fun and hip. ![]() The Miami audience is, shall we say, quite pop. ![]() I've already displayed those at L.A.'s Huntington Library, the Wallace Collection in London, and the Minneapolis Institute of Art. We're showing architecture from just the past seven or eight years, and the largest part of my art collection, my Renaissance bronzes, won't be a focus. It's important to say that the Bass exhibition is not a retrospective. On the occasion of his blockbuster exhibition at Miami Beach’s Bass Museum of Art, power-player Peter Marino opens the doors to his life, his work, and his spectacular art collections Working with artists keeps things from looking tired. In Paris, Gregor Hildebrandt did the most amazing black floor using film. In a Florida house, we got Guy Limone to cover every surface of a powder room with minuscule collages. The clients already had collections, so they'd say, "What do you mean you want to commission new pieces?" But the practice has taken off like a freight train-we just do more and more with every job. It took longer to work commissions into residential jobs. They were not well-known talents, although at least one would later become famous-Tom Sachs. I had someone covering walls and ceilings in baseball cards, someone doing mosaics over cosmetics counters, someone painting murals in the fitting rooms. At Barneys we worked constantly with artists. Keith Haring was going to do a floor-to-ceiling mural in the lobby, but sadly he died before the project could be realized. One of the first times I commissioned something for a project was while working on a high-rise in Antwerp, also in the late '80s.
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