• Eileen Gray, toiletry cabinet-screen, 1927–29, wood, aluminum, mirrors, glass, cork, 64 5/8 x 22 x 7".

    Eileen Gray

    Centre Pompidou
    Place Georges-Pompidou
    February 20–May 20, 2013

    Curated by Cloé Pitiot

    A woman in a man’s profession, Eileen Gray was both celebrated and sidelined by her male colleagues (most famously Le Corbusier) as she navigated the exclusive world of fashionable salons with the detachment of a self-declared outsider. But even more intriguing was the Anglo-Irish designer’s brilliant, if seemingly contradictory, design intelligence—one she applied with equal ease whether producing the lush Art Deco interiors of her early career or the spare and highly disciplined modernist architectonics of her houses in the late 1920s and ’30s. It is this spectrum that the Pompidou aims to examine in full with a comprehensive retrospective, featuring some seventy works in media ranging from textiles and lacquerwork to steel tubing and reinforced concrete. Reconstituting the environments Gray herself inhabited as well as those she designed for others, this survey promises to show, finally, that her work was about not only making and using but also the sensual pleasure to be derived from objects and environments designed foremost to perform.

  • Linder, untitled, 1981, photomontage on paper, 12 3/8 x 7 1/2".

    “Linder: Femme/Objet

    Musée d'Art moderne de la Ville de Paris
    11 avenue du Président Wilson
    July 19–April 21, 2013

    Curated by Emmanuelle de l’Ecotais

    What makes Linder Sterling’s artwork so different, so appealing? Perhaps the sawn-off, Schwittersesque Merz that blasts through her DIY collages. Hacking images of household appliances, gooey cakes, facial features, and body parts from the pages of glamour magazines, the Liverpool-born artist creates photomontages that have come to define punk-era aesthetics: her iconic cover art for the Buzzcocks’ 1977 “Orgasm Addict” single; the art fanzine The Secret Public, which she published with Jon Savage in 1978. This Parisian retrospective will gather some two hundred works and ephemera, including photographs, costumes, and videos, as well as footage from her more recent, ritualistic performance practice. While her atavistic parallel universe has already shown at a range of venues, including Tate Britain and London’s Stuart Shave/Modern Art, this effort will afford the most panoramic view of “Linderland” to date.