It is good attitude to doubt rules.
Creativity doesn't follow rules.
Birth of the Modern
Peter Loughrey was a talented pioneer motivated by a restless enthusiasm, crucially driven by the willingness to communicate, to share and to discover. An intuitive feel for the burgeoning interest in post-war design led Peter to establish the nascent LA Modern Auctions in 1992 — soon to evolve into the very first dedicated auction platform of its type. Although the initial turnover those first years was modest, LAMA’s impact and resonance was to spearhead a new era of collecting. With these auctions Peter, together with his wife and co-director Shannon, swiftly developed an interactive platform for what was evolving as an increasingly globalised tide of enthusiasts, dealers, curators and collectors. His auctions became a raison d’être, justification to what many of us were at the time tentatively yet willingly exploring. Here, in these auctions, post-war design was spot-lit centre stage, and celebrated as a movement in its own right.
If these initial auctions consolidated and gave focus to the market, then they also gave us an identity — achieved very simply through the semantics of the company that celebrated ‘modern’. A simple and obvious choice, but so influential and less cumbersome than the prevailing options of "twentieth century" or "post-war." Auctions at that time were traditionally associated with antiques, and there was a general disinterest within the trade to consider anything less than seventy years old as having any cultural or collectible value. Although this market had been described as being "modern" for some years already in the US, the word had not yet been internationalised beyond American shores to represent a collecting movement.
LAMA was established at exactly the right time. The zeitgeist was perfect, and helped guide many of us. Around this time I returned from the US and was shortly set to curate my first design auctions for Christie’s in London. Peter’s catalogues during this explorative period were invaluable. Perhaps difficult to understand now, in our era of immediate communication, but the fully illustrated printed LAMA catalogues were the equivalent of a fanzine that would be passed around, photocopied and then memorised. Nowhere else at the time was contained the detailed information that could allow us, many thousands of miles away in London, to distinguish between an early or a late example of, say, an Eames LCW, or to be exposed to the furniture of Schindler or Neutra. And crucially, there were prices. The prices meant that the market was real. And every so often there would be something in Peter’s sales — a trophy lying in wait for the knowledgeable — that would yield a revolutionary price, setting new records and issuing concentric ripples that gave us the confidence to recognise that our passion for this material was no daydream.
Peter had the fortune to discover his calling, and the certainty to pursue it, his delight for discovery underpinned by curatorial seriousness. Together with Shannon, LAMA established a keystone in the foundations of the modern market, flag-bearers of international design and with a global message. Today LAMA co-anchors a dedicated and influential network of US auction sites, all specialised graduates of that early era of modern discovery. A shared mission is always the most pleasurable, so thank you Peter, for helping guide the way.
Curator and advisor
Andrews Art Advisory
Gaetano Pesce is one of the most progressive and visionary designers of the 20th century, building a diverse and avant-garde body of work from principles of anti-rationalism, a concern for the individual and the “human touch,” and an experimental approach to materials and means of production.
Pesce was born in 1939 in La Spezia, Italy and grew up between Florence and Padua. His father, a naval officer, died in WWII, leaving his mother to raise him and his brother alone, resulting in a difficult childhood. From a young age, Pesce exhibited a rebellious spirit, joining Gruppo N, a radical artist collective when he was still a teenager. In 1959, Pesce enrolled at the University of Venice to study architecture, because he considered it to be the most complex and challenging of the arts. He found the curriculum tedious and stifling with its insistence on historicism and the hyper-rationalist, mechanical, and abstracted ideals of modernist architecture, which he thought disregarded the individual and attempted to standardize the human spirit. He found his suspicions of modernism confirmed when he visited Dessau, Germany, the birthplace of the Bauhaus, to find that the first Bauhaus building, where Paul Klee and Ludwig Mies van der Rohe taught, had been turned into a coal room.
Outside of his formal studies, Pesce began what would become his lifelong investigation into atypical materials, namely resin. He began auditing classes at the progressive Venice College of Industrial Design, where he met like-minded artists and designers. In 1964 Pesce had a career-changing encounter with Cesare Cassina, founder of the Cassina furniture company. Excited by the young designer’s ideas, Cassina gave Pesce a monthly stipend to travel and research new materials for Cassina designs.
Pesce graduated from University of Venice in 1965, traveled for a bit in Finland, where he considered the most exciting design to be happening and later settled in Paris to open his own studio. In this era, forward-thinking designers were stuck in a bit of a paradox; they were driven to engage with the boundless design opportunities presented by a burgeoning consumerist society, but were also, ideologically, reluctant to fall into the trap of indulging its superficial demands and desires. Designers like Pesce reconciled this impulse by working to bring humanism, feeling and meaning to their designs, rather than mechanized uniformity. Throughout his career, Pesce has been committed to the idea of “mass-produced originals,” that contain the human touch and fall under the designation of “counter-design."
In 1969, Pesce stumbled into his first major line of furniture by way of pondering his sponge while in the shower. His Up series, created from high-density polyurethane foam, with no interior structure, was revolutionary in that it could be vacuum-packed and stored and shipped flat; the pieces were also organic and pliable in form. His most famous work from this series is the La Mamma chair—with its ample proportions, recalling an ancient fertility goddess, the chair is feminine, sensual, tactile and envelopes the sitter. La Mamma also came with an ottoman that was originally attached to the chair, symbolizing the “ball-and-chain” history had put on women. The Up furniture debuted in 1969 and is at the crux of understanding Pesce’s design ethos; with a rather forceful hand and roguish attitude, he was intent on moving away from design and architecture that was decidedly masculine and intellectual and toward forms that were carnal, supple and grounded.
Pesce and Cassina founded Bracciodiffero together in 1970, the first expressly avant-garde furniture company. That same year, the Musée des Arts Decoratifs in Paris gave Pesce his first solo exhibition. For the show, he composed original electronic music to be played throughout the galleries and filled the space with sandalwood incense. Two years later, he was asked to participate in the influential The New Domestic Landscape: Achievements and Problems of Italian Design at The Museum of Modern Art, New York. The exhibition included many great designers such as Ettore Sottsass, Gae Aulenti, Archizoom group, Bruno Munari, and Joe Colombo, whose designs were on view, as well as “environments” created explicitly for the show. Pesce’s work was by far the most controversial. He presented a futuristic archeological dig, a re-discovered society from the third millennium, dubbed “Age of the Great Contamination,” that lived in sterile, rigid environments, disconnected from the outside world. A video accompanied the installation, showing the residents of the community eating one another in a ritualistic ceremony, driven mad by their highly rational, disconnected civilization.
During the 1970s, Pesce continued his exploration of plastics and innovative production, creating landmark works such as the Golgotha suite (1972-3) and the Sit Down suite (1975) as well as devoted energies to conceptual and avant-garde architectural projects and re-imaginations. Pesce also began a twenty-eight-year teaching tenure at the Institut National des Sciences Appliquées in Strasborg, France in the late 1970s.
After an appointment as a lecturer at the Pratt Institute in 1980, Pesce and his family relocated to New York, where he let the cityscape inform his work, creating iconic works such as the Tramonto a New York sofa (1980) and his Pratt chairs (1983). His focus also turned toward lighting and private residential commissions, where he was able to create total environs. In the 1990s Pesce again returned to his idea of “mass-produced originals,” working with the Italian company Zerodisegno to create some of his most accessible but still unconventional designs such as the Nobody’s Perfect series, the Umbrella Chair (1995) and his Open Sky series with Fish Design. Pesce also began constructing what is perhaps his most ambitious work, a vacation home complex in Bahia, Brazil where he has experimented with a myriad of innovative forms and materials on a large-scale.
Despite his fervent anti-establishment values, Pesce has been recognized by the design community as an influential visionary. He was awarded the Chrysler Design Award for Innovation and Design in 1993 and the Lifetime Achievement Award by the Italian Cultural Institute of Los Angeles in 2010. His designs are held in the collections of the Cooper Hewitt Smithsonian Design Museum, Washington D.C., The Victoria and Albert Museum, London and The Museum of Modern Art, New York, among others. Pesce continues to live and work in New York.
Auction Results Gaetano Pesce