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Chris Wolston is an American artist and designer based in Brooklyn, New York and Medellín, Colombia. His thoughtfully conceptualized and deliberately fabricated work -- which ranges from furniture and lighting to installation and sculpture -- rigorously blends traditional techniques and materials with a wry, contemporary realism, arriving at an entirely original postmodern aesthetic, imbued with material fluency and environmental urgency.

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The fundamental existence of objects in space is brought into sharp focus in the work of Martin Bodilsen Kaldahl. Through his process, he transforms everyday minimal phenomena into sculptural expressions utilizing a precise, formal fashioning of the material. With a keen eye for the monumental within the insignificant, his works emerge out of a process that creates conditions for an intuitive form. While Kaldahl works from an overall vision, he incorporates stumbling blocks into the actual construction of the works in order to relinquish control, allowing the form to evolve and thereby avoiding predictability. Akin to doodling, where consciousness is only partially present, he builds larger structures out of smaller bits of clay tubes which, at random, become a dancing sequence that moves up and down, almost reeling out into space. The use of strong, clear colors adds an insistent dynamism and energy to the works; this in tandem with the form’s own statement and potential to initiate emotion, manifest in a clear and easily decipherable expression that remains open to many different interpretations.

Kaldahl first trained as a potter in the 1970s. In 1988, he joined the Master's program at the Royal College of Art in London, where he graduated in 1990. He is a co-founder of the artist-run exhibition platform, Copenhagen Ceramics (CC) launched in 2012. Kaldahl’s works are represented in several public and private collections including the Victoria and Albert Museum in London, The Danish Museum of Art & Design in Copenhagen, The National Museum of Art, Architecture, and Design in Oslo, and Musée des Arts Decoratifs, Paris.

All for Right Now 3 – Spatial Drawing #52

Glazed stoneware, hand-built
W 17 x D 16 x H 18 inches

HB02SI

Kevin Stahl (American, b. 1983) lives and works in Brooklyn, NY. He received his MFA from the School of Visual Arts, New York, NY and his BFA from The University of Michigan, Ann Arbor, MI. Stahl was included in The Brooklyn Academy of Music's BAM Next Wave Art in 2011. He has been included in group exhibitions at Karma, Massimo de Carlo, Coustof Waxman, and more.

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Born in 1903, Charlotte Perriand exudes the optimism and energy of the 20th century in her life and her work. As a young designer in the studio of Le Corbusier, Perriand absorbed the values integral to his architecture for modern living: a commitment to function, a focus on simple harmonies of form and color, and a joyous embrace of technology. Bending machine-age materials like steel and aluminum into her iconic Chaise Longue and luxurious Fauteuil Confort; Perriand created above all design for living. In Perriand's world, life is lived through design; and good design allows freedom of movement and harmony of the spirit with the environment. Her many designs for storage units, free-form desks and pre-fabricated houses seem whimsical at first; though they stem from her participation in utopian planning movements of the early 20th century. Each design has a positive role to play in daily life: streamlining work, facilitating order, and fostering independence or community as the situation demands. While Perriand celebrated the role of technology in modern living; her enthusiasm was inflected by an abiding interest in the natural world. Her dwellings are optimized for sunlight on a summer morning or cooling breezes in the afternoon. An avid outdoorswoman and traveler, Perriand often searched for design solutions in the materials and craft traditions of the regions where she worked; an approach enriched by her travels to Japan and Indochina during the forties. Isolated from European technology by world war; she turned to paper, bamboo and ceramics, reassessing her work in light of the serene minimalism of Japanese aesthetics. Accordingly, Perriand's interiors are never simply rooms filled with objects. They are spaces full of light and air where work and play are carried on in accordance with the rhythms of the life and nature.

Enameled metal
H 25.375 x W 30.5 x D 30.5 inches

MHG14SI

PE02SI

- 1 of only 40 carbureted examples
- One of only 328 examples built
- Largely original and offered from a prominent collection
- Outfitted with factory toolbox; includes owner’s manual and tonneau
- Signed by the legendary Valentino Balboni

Lamborghini has a history that is built upon a legacy of exotic, mid-engine supercars. In the 1980s, the firm tested the luxury, all-terrain vehicle market and the potential to apply it to military-grade applications. The idea was pioneered in 1977 with the Lamborghini Cheetah prototype with the hopes of securing a US Army contract. The rear-engined, one-off prototype showed promise but it was too exotic for the American military.

In 1981, at the Geneva Motor Show, Lamborghini unveiled a further design study based on the Cheetah, the LM001. The LM001 also had a rear-engine placement, and consequently suffered in handling and rear interior space. Lamborghini's principal, Patrick Mimran, assigned ex-Maserati engineer Giulio Alfieri to design a new concept that would address these short-comings. The result of his work made its debut in 1982. It was coded with serial number LM0002 and utilized the same V-12 engine from the Countach. With a front-engined layout, it had better handling and weight distribution, and allowed the rear cabin to be properly trimmed for six passengers. It rode on specially designed Pirelli Scorpion run-flat tires and was fitted with an early GPS navigation system.

The LM002 was officially introduced in production form at the Brussels Motor Show. It was a rugged SUV fitted with a broad array of luxuries, including leather interior, tinted windows, a high-fidelity sound system, and air-conditioning. Production continued through 1993 with just 328 examples produced.

This particular LM002 has seen limited use during its existence. It has been well maintained throughout its life, and retains its original Acapulco Blue paint and gray leather interior with wood accents. In 2011, Valentino Balboni, long-time test driver for Lamborghini, signed the car's dashboard.

This SUV has is factory-optioned toolbox, tonneau, and owner's manual. Power is from a V-12 engine fitted with six Weber carburetors. The 455 horsepower produced by the engine is sent to the rear wheels via a five-speed manual gearbox. At all four corners are ventilated disc brakes.

The car offered here features the desirable 

 wheels and is one of just 40 carbureted versions of the 328 examples built in total. The car is offered in exceptionally strong original condition, and was formerly the property of two notable American automobile collections.

MSP01SI

British-Canadian Philippe Malouin holds a bachelor’s degree in Design from the Design Academy Eindhoven. He has also studied at the École Nationale Supérieure de Création Industrielle in Paris and University of Montreal. He set up his studio in 2008 after working for English designer Tom Dixon. Philippe has also taught at the Royal College of Art in London between 2012-2015. His diverse portfolio includes tables, rugs, chairs, lights, art objects and installations. Philippe’s client list includes: Vaarnii, De Sede, Iittala, Nike, Please Wait to be Seated, SCP, Marsotto Edizioni, Resident, OTHR, HEM, Ace Hotel, Matter-Made, Established & Sons, Roll & Hill, 1882 ltd., Kvadrat, Umbra Shift, IZÉ, Aesop. He has recently won the Wallpaper* Magazine ‘designer of the year’ award. He has also been named President of the Jury at Villa Noaille’s Design Parade in France. Philippe Lives and works in London, where he operates his design studio.


Steel, textured polyurethane coating
W 13.78 x D 62.99 x H 5.91 inches

PM03SI

Bent sheet steel, wood, aluminum
W 87 x D 23 x H 60 inches

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Working with tubular steel, a ubiquitous material familiar to all, the concept for Renfrew Stool is based on simple geometry. The repetition of a simple square has been used to create a structure that is interlocked to form a cube. This bone white color-way is part of the neutral series designed in 2020. The seat is constructed of six individually upholstered cushions in bone white calf leather.

, 2020
Jonathan Saunders, Saunders Studio

Bone white painted steel, calf leather
18 x18 x 18 in

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Exploring nature and geometry across metalwork and screen printing, Saunders revisits the shapes of his debut collection with an exploration of neutral color and dying techniques. Pairing freehand screen printing processes with rigid metal forms, the collection captures the spontaneous and accidental bound within precise shapes.

Renfrew Table, 2020
Jonathan Saunders, Saunders Studio

SS01SI

Established in 2020 by Guglielmo Giagnotti and Patrizio Gola, studioutte is a Milan-based multidisciplinary practice for interior architecture, decoration and collectible design. utte (hütte) /'hytә/ hut, hütte, small cabana, wooden cabin, shelter. The vision of studioutte is distinctly Italian yet an integrated, harmonious reality. Its hybrid design is composed of vernacular architecture research and influences across various regional practices. Through a clear, expressive approach that eludes reiterated and extreme elements, the aim is purity, a concentration into a primitive essence. A warm assertiveness meets an animistic devotion for objects and interiors. Reaching beyond the formality of simplicity, ideas are distilled into essential, poetic forms and spaces.


studioutte
Guglielmo Giagnotti and Patrizio Gola

Edition of 24, made exclusively for SIZED

Glossy lacquered plywood
W21.26 x D 17 x H 25.6 inches

PG01SI

Default Title

Courtesy of the artist and Peter Freeman, Inc. Photography by Nicholas Knight.

Matt Mullican was born in 1951 in Santa Monica, California and lives and works in both Berlin and New York. Mullican was recently awarded the second ever Possehl Prize for International Art and will open a related solo exhibition in Lübeck in October 2022. He earned his BFA from the California Institute of the Arts in Los Angeles in 1974, and has exhibited extensively internationally since, using colors and symbols to create a unique and personal language, often referring to corporate logos, street signs and historical monuments. Through experiments carried out under hypnosis, he has endeavored to achieve a new definition of "reality". Mullican has been represented by Peter Freeman, Inc. since 2005 and has mounted three solo exhibitions at the gallery in New York, most recently in 2020. Other recent exhibitions include Matt Mullican: A chart between 5 worlds, MARe/Museum of Recent Art, Bucharest, Romania (2021); Matt Mullican, Musée des Arts Contemporains au Grand-Hornu (2020); Between Sign and Subject, de Young Museum, San Francisco (2019-2020); Banners, Skulpturenhalle, Thomas Schütte Stiftung, Neuss, Germany (2019); Representing the Work, NC-arte, Bogotá, Colombia (2019); The Feeling of Things, Pirelli HangarBicocca, Milan (2018); The Sequence of Things, Camden Arts Centre, London, England (2016); and Nothing Should Exist, Kunstmuseum Winterthur, Switzerland (2016). Mullican retired in 2018 from his professorship at Hochschule für bildende Künste Hamburg in Germany. He has also taught and lectured at Columbia University; The School of Visual Arts; the Rijksakademie in Amsterdam; The London Institute; and the Chelsea College of Art and Design.

Oil stick on canvas
72.25 x 48 inches (183.5 x 121.9 cm)

MM02SI

Chris Fusaro is a Canadian industrial designer. He studied product design before earning a bachelor’s degree in sculpture from Concordia University. After working for a number of artists like Jon Rafman and Gaetano Pesce, he started his own practice in 2019.

Building on his formative experiences as an industrial designer for other artists, his practice aims to mediate art and industry. Using function as the premise for applied form, his designs acknowledge yet defy their convention. His work is the result of studying and emphasizing the formal qualities found in objects that reveal their structure, materiality or fabrication. He demonstrates values for both industrial production and craft, focusing on singular forms and techniques that distinguish his works from the mass made. Fusaro lives and works in Montreal.

Anodized aluminum
L 79 x W 28.5 x H 32 inches

CF01SI

Oak & oak veneer
H 31.5 x W 78.74 x D 20.87 inches

MHG12SI

Klaus Jürgen Schmidt (b. 1982, SA) navigates fashion and visual art as an undivided cultural world. He has created textile works and contemporary ceramic objects for Magliano, Andre Walker, Jordanluca, Hussein Chalayan and Martine Rose. His Ceramics have featured in Vogue and Acne Paper.

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: Le Corbusier was a Swiss born-French architect, designer, city planner, writer and also a painter. Corbusier was trained as an engraver and goldsmith in addition to his extensive studies in architecture. In 1919, Le Corbusier founded the journal 'L'esprit Nouveau' (the New Spirit) where he formulated his ideas of modern architecture based on elemental geometric forms. Le Corbusier placed systems of harmony and proportion at the centre of his design philosophy. He began experimenting with furniture design in 1928 after inviting the architect, Charlotte Perriand, to join his studio. The first results of the collaboration were three chrome-plated tubular steel chairs designed for two of his projects, The Maison la Roche in Paris and a pavilion for Barbara and Henry Church. The line of furniture was expanded for Le Corbusier's 1929 Salon d'Automne installation, 'Equipment for the Home'. In 1943 Le Corbusier developed 'Le Modulor', a system of proportion based on the male figure and the Golden Ratio, used to determine the proportions of units in architecture and technology. It is also the basis of Le Corbusier's work in furniture design. In 1964, while Le Corbusier was still alive, Cassina S.p.A. of Milan acquired the exclusive worldwide rights to manufacture his furniture designs. Today many copies exist, but Cassina is still the only manufacturer authorized by the Fondation Le Corbusier.

: In conjunction with designer Charlotte Perriand and his illustrious cousin Le Corbusier, Pierre Jeanneret created experimental interiors which established their atelier as a leader in modern design. Advocating a new vision of architecture which emphasized order and harmony rather than ornament; the team brought light and air into their buildings through a prodigious use of glass and elimination interior walls. Minimal furniture and sleek design further contributed to a sense of spaciousness and formal purity. Though an avid practitioner of the geometric austerity which defines modern design, Jeanneret often enlivened his furniture with strong diagonals or lighter materials, such as cane and wood. He also brought a humanist perspective to his cousin's utopian doctrines of modern planning.
Late in his career, the designer made a singular contribution to the post-war urban planning movement in the capacity of Chief Architect at Chandigarh, India. Envisioned by the newly independent government as a throughly modern city which could accomodate refugees of Partition; Chandigarh was to offer amenities such as running water and comfortable housing to people of all classes. First under Le Corbusier's direction and then independently, Jeanneret remained at the site for fifteen years until shortly before his death; wrestling with the transition of a traditional society to the modern world and creating many important experiments in urban housing and government building.

 Born in 1903, Charlotte Perriand exudes the optimism and energy of the 20th century in her life and her work. As a young designer in the studio of Le Corbusier, Perriand absorbed the values integral to his architecture for modern living: a commitment to function, a focus on simple harmonies of form and color, and a joyous embrace of technology. Bending machine-age materials like steel and aluminum into her iconic Chaise Longue and luxurious Fauteuil Confort; Perriand created above all design for living. In Perriand's world, life is lived through design; and good design allows freedom of movement and harmony of the spirit with the environment. Her many designs for storage units, free-form desks and pre-fabricated houses seem whimsical at first; though they stem from her participation in utopian planning movements of the early 20th century. Each design has a positive role to play in daily life: streamlining work, facilitating order, and fostering independence or community as the situation demands. While Perriand celebrated the role of technology in modern living; her enthusiasm was inflected by an abiding interest in the natural world. Her dwellings are optimized for sunlight on a summer morning or cooling breezes in the afternoon. An avid outdoorswoman and traveler, Perriand often searched for design solutions in the materials and craft traditions of the regions where she worked; an approach enriched by her travels to Japan and Indochina during the forties. Isolated from European technology by world war; she turned to paper, bamboo and ceramics, reassessing her work in light of the serene minimalism of Japanese aesthetics. Accordingly, Perriand's interiors are never simply rooms filled with objects. They are spaces full of light and air where work and play are carried on in accordance with the rhythms of the life and nature.

"B307" table for Chez Soi café/restaurant, Marseille

, c.1930
Le Corbusier, Pierre Jeanneret, Charlotte Perriand

Aluminum, steel, lacquered glass and wood
H 29 x W 43 x D 23.75 inches

MHG13SI

AR01SI

Dumbbell Set, 2022
Diego Villarreal Vagujhelyi

Solid 304 grade stainless steel
20 pounds each
Sold as a set

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Images courtesy of David Lewis Gallery and John Boskovich

John Boskovich (b. 1956, Los Angeles, d. 2006, Los Angeles) received a BFA from California Institute of the Arts (Cal Arts) in 1985. Boskovich’s selected solo and two-person exhibitions include Psycho Salon, O-Town House, Los Angeles, CA; Dead Center / Marginal Notes: John Boskovich, curated by John Neff, Western Exhibitions, Chicago, IL; New Work and the It Series (1990-1996), Rosamund Felsen Gallery, Los Angeles, CA; Boskostudio, artist studio and home, Los Angeles, CA; Rosamund Felsen Gallery, Los Angeles, CA; Rude Awakening, Rosamund Felsen Gallery, Los Angeles, CA; Mike Kelley and John Boskovisch, Rosamund Felsen Gallery, Los Angeles, CA; Rosamund Felsen Gallery, Los Angeles, CA; and Playing with the Truth, Laurie Rubin Gallery, New York, NY among others. Selected group exhibitions include This Brush for Hire: Norm Laich & Many Other Artists, curated by John Baldessari and Meg Cranston, Institute of Contemporary Art, Los Angeles, CA; La Pédida / Perdido, DXIX Projects, Los Angeles, CA; Tongues Untied, curated by Rebecca Matalon, MOCA Pacific Design Center, Los Angeles, CA; Sylvia Bataille, curated by Adam Marnie and Rebecca Matalon, Joan, Los Angeles, CA; Sentimental Education, curated by David Rimanelli, Deitch Projects, New York, NY; Art/Journalism, curated by Lawrence Rickles, Rosamund Felsen Gallery, Los Angeles, CA; The Salon of ‘99, curated by David Rimanelli, The Fifth International, New York, NY; The Unreal Person: Portraiture in the Digital Age, curated by Irit Krygier, Huntington Beach Art Center, Huntington Beach, CA; Harriet Craig, curated by David Rimanelli, Apex Art, New York, NY; Laguna Art Museum, Laguna Beach, CA; Hollywood Satan, Mark Moore Gallery, Los Angeles, CA; Ports of Entry: William S. Burroughs and the Arts, curated by Robert A. Sobieszek, Los Angeles County Museum of Art, Los Angeles, CA; traveled to The Spencer Museum, Lawrence, KS; A Man’s World, curated by Russell Ferguson, Museum of Contemporary Art, Los Angeles, CA; The Moderns, curated by Tony Payne, Feature, New York, NY; Praz-Delavallade, Paris, France; The Camera I: Photographic Self-Portraits from the Audrey and Sidney Irmas Collection, curated by Robert A. Sobieszek and Deborah Irmas, Los Angeles County Museum of Art, Los Angeles, CA; traveled to Akron Art Museum, Akron, OH; Frederiksborg Nationalhistorisk Museum, Hillerød, Denmark; Hollywood, Hollywood, curated by Fred Fehlau, Pasadena Art Alliance, Pasadena, CA; ELAC Art Contemporain, Lyon, France; The Library of Babel: Books to Infinity, curated by Todd Alden, White Columns, New York, NY; traveled to Hallwalls Contemporary Arts Center, Buffalo, NY; Rubin Spangle Gallery, New York, NY; Rosamund Felsen Gallery, Los Angeles, CA; Albany Museum of Art, Albany, GA; Delaware Art Museum, Delaware, MD; traveled to Herter Art Gallery, Amherst, MA; Lamont Gallery, Exeter, NH; University of Missouri Gallery of Art, Kansas City, MO; Self Evidence, curated by Larry Rinder, Los Angeles Contemporary Exhibitions, Los Angeles, CA; Bruce Nauman, Cindy Sherman, John Boskovich, Laurie Rubin Gallery, New York, NY; Rosamund Felsen Gallery, Los Angeles, CA; and Heterodoxy, curated by Meg Cranston, Rosamund Felsen Gallery, Los Angeles, CA, among others. The artist directed two acclaimed films including North (starring Gary Indiana) and Without You I’m Nothing (starring Sandra Bernhard). John Boskovich is included in the collection of the Museum of Contemporary Art, Los Angeles (MOCA LA), Los Angeles, CA.

Three ceramic peace bongs in plexiglass vitrine with silkscreen text
W 14 x D 33 1/3 x H 4 1/2 in (W 35.6 x D 84.7 x H 11.4 cm)

JB02SI

Emerging in the early 1970s, Austrian-born artist Franz West (1947-2012) developed a unique aesthetic that engaged equally high and low reference points and often privileged social interaction as an intrinsic component of his work. While he was known primarily as a sculptor, his body of work incorporated drawing, collage, video, and installation, using papier-mâché, furniture, cardboard, plaster, found imagery, and other diverse materials. By playfully manipulating everyday materials and imagery in novel ways, he created objects that serve to redefine art as a social experience, calling attention to the way in which art is presented to the public, and how viewers interact with works of art and with each other.

West studied at the Akademie der bildenden Künste, Vienna from 1977 to 1982. He began exhibiting his work in the 1970s in Austria and Germany and gained recognition across Europe in the 1980s, with significant shows at such venues as Kunsthaus Zürich (1985), the Neue Galerie am Landesmuseum Joanneum, Graz (1986); Wiener Secession, Vienna (1986); Skulptur Projekte Münster (1987); Kunsthalle Bern (1988); Portikus, Frankfurt (1988); Museum Haus Lange, Krefeld (1989); and the Institute for Contemporary Art, P.S.1, Long Island City, New York (1989). 

The 1990s brought widespread international recognition, and the artist’s work was presented in numerous prestigious venues worldwide including the Austrian Pavilion of the 44th Venice Biennale (1990); documenta IX, Kassel (1992); The Museum of Contemporary Art, Los Angeles (1994); Dia Center for the Arts, New York (1994); Carnegie Museum of Art, Pittsburgh (Carnegie International, 1995); Villa Arson, Nice (1995-1996); and the Städtisches Museum Abteiberg, Mönchengladbach (1996).

A major, mid-career retrospective (Franz West. Proforma) was organized by the Museum moderner Kunst Stiftung Ludwig, Vienna in 1996 (it traveled to the Kunsthalle Basel and Rijksmuseum Kröller-Müller, Otterlo); and solo exhibitions were held at the Kunstverein Hamburg (1996); FRAC Champagne-Ardenne, Reims (1997); The Museum of Modern Art, New York (1997); Fundação de Serralves, Porto (1997). West participated in documenta X, Kassel (1997); and the Rooseum, Centre for Contemporary Art, Malmö, presented a solo exhibition of his work in 1999.

During the artist’s lifetime, he presented several solo exhibitions at David Zwirner, in 1993, 1994, 1996, 1998 (with Heimo Zobernig), and 1999. The gallery further organized an exhibition of the artist’s early work in 2004-2005, and a show in 2014 that focused on work from the 1990s, which was accompanied by a catalogue published by David Zwirner Books, with essays by Eva Badura-Triska, Veit Loers, and Bernhard Riff. Most recently, a solo presentation of the artist’s sculptures and works on paper from 1972 to 2004 was on view in 2019 at David Zwirner, London.