5. SPECTRUM
CT6 REVEALED /// GETTING SCHOOLED /// FILM FINALISTS ///
STYLE SPOTTER /// BOLD MOVES /// HEART-RACING FUN
ROYRITCHIE

11. INSPIRATIONS
GEEK TO SLEEK /// TRIBECA TOQUE /// A NOVEL PLAN ///
CARIBBEAN CROONER /// MARIO BATALI /// DESIGNING WOMAN
JUSTINMACONOCHIE

17. VISIONS
JEREMY PIVEN /// V-SERIES VELOCITY /// MARIA BELLO
/// BROTHERLY BONDS /// BOGOTÁ BREW
ROYRITCHIE

25. FROM HER EARLY DAYS ON ER TO THE RECENT THRILLER
PRISONERS AND THE INSPIRATIONAL MCFARLAND, USA, MARIA BELLO
HAS BEEN A FORCE TO BE RECKONED WITH. THE FEARLESS,
AWARD-WINNING MOVIE STAR (AND NOW AUTHOR) SHARES
SOME HARD-EARNED INSIGHTS ABOUT IDOLS AND LABELS (HUMAN,
NOT DESIGNER), FAMILY, AND PURPOSE
M A R I A’S
MOME N T
B Y M I C H E L E S H A P I R O
P H O T O G R A P H Y B Y J I M W R I G H T

26. Widely acclaimed for her Golden Globe–nomi-
nated performances in The Cooler (2003) and The
History of Violence (2005)—the latter snagged her
a New York Film Critics Circle award—Bello just
landed a plum role in the sci-fi film The 5th Wave,
an adaptation of the bestselling young adult sci-fi
novel by Rick Yancey, which, unlike the low-budget
indies that compose much of Bello’s resume, has
Hunger Games–like mania potential.
She and her shorn locks will fly to Atlanta in
a few days to start filming opposite überpopular
teen star Chloë Grace Moretz. “I play Resnick,
who’s like the witch in Hansel & Gretel,” she says.
In her choice of roles, Bello is decisive: “When I
read a script, I’ll know immediately I want to do it
if I can see the character in my head.”
She’s uncommonly gracious during our talk,
but these days, Bello is more apt to ask questions
than answer them. Now in a relationship with
Clare Munn, Bello has been questioning every-
thing from what constitutes a partner (her son’s
father, Dan McDermott, is still actively involved
in raising teenager Jack) to what it means to be
an Italian-American. In the last few years, Bello
dusted off old journals in hopes of finding answers,
but instead she was faced with the magnitude of
her endeavor during the eight months it took to
complete her essay collection. “There are always
more questions—so many layers,” she observes.
“I’m constantly peeling back those layers to get
to a better place.”
Q. Is Whatever … Love Is Love the first book
you’ve written?
A. I wrote a novel 15 years ago that never got pub-
lished. I was such a kid back then. My mom said
she always knew I’d be a writer. I was reading
novels by age 8, and I would make cartoon scripts
of people talking to each other. I have actually
been writing since age 13. I’ve written pilots for
TV shows and screenplays. I had to earn the title
of actor. And maybe one day I’ll earn the label of
writer as well.
Q. Who are your artistic inspirations?
A. I have black-and-white photos framed on the
wall above my bed of Georgia O’Keeffe, Edna St.
Vincent Millay, Beatrice Wood—all women artists
who led authentic lives. I always wanted to be one
of those women. I’ll often study Georgia O’Keeffe’s
facial expression in the photo—the way she’s look-
ing out with so much hope and light in her eyes—
and I’ll think, I want to be like that.
Q. What attracts you to a particular project?
A. It depends on the role and the people with whom
I’ll be working. I just finished The Confirmation with
Clive Owen and Matthew Modine. It was directed
by Bob Nelson, who wrote Nebraska. He’s such a
humanist. It was the first movie he directed, and his
voice and humanity definitely came through. Also, I
like working with kids more and more. I did Wait Till
Helen Comes last fall with The Book Thief’s Sophie
Nélisse, who’s 15, and her younger sister Isabelle,
who’s 11. I fell in love with them. They think Clare
and I are fashionable. We took them vintage clothes
shopping and went to the mall together. Isabel
sends photos of outfits with the clothes we bought.
More and more, I like working with kids.
Q. And you just worked with Kevin Costner in
the well-received McFarland, USA.
A. It’s a true story about an ’80s cross-country
coach who gets a job in McFarland, a poor place
filled with Mexican farm workers. They won the
championship for nine years. Telling that story
has a really positive message and values. I feel like
media can heal or harm us. It can help to heal us,
bring us together, and show diversity. This film
shows a slice of life in the Latin community.
Q. You memorably appeared as Vivian Arliss in
a two-episode arc on Law and Order: Special
Victims Unit in 2010. What made you do it?
A. Mariska Hargitay and I have been friends
since she came on ER as a guest star. Back then,
everyone said, “I don’t think you two will like each
THE WAITING AREA OF A HAIR SALON ISN’T THE MOST
CONDUCIVE SETTING FOR AN INTERVIEW, BUT IT WORKS FOR MARIA
BELLO. TRUTH IS, THE ACTRESS, ACTIVIST, AND AUTHOR, WHOSE NEW
BOOK OF ESSAYS WHATEVER … LOVE IS LOVE RECENTLY HIT BOOKSHELVES,
IS PUMPED TO GET HER SIGNATURE BLONDE TRESSES CHOPPED OFF.
48 Summer 2015

28. IN PARIS, LOUIS VUITTON UNVEILS A
FRANK GEHRY–DESIGNED CONTEMPORARY
ART MUSEUM, BECOMING A WORLD-CLASS
CULTURAL BENEFACTOR IN THE PROCESS
BY DREW LIMSKY
A CONTINUOUS LINE©2014IWANBAAN
52 Summer 2015 53 Summer 2015

29. OPPOSITE PAGE INSIDE THE HORIZON BY OLAFUR
ELIASSON FEATURES 43 PRISM-SHAPED COLUMNS
THAT CREATE DAZZLING REFLECTIONS. THIS PAGE,
FROM TOP THE VIBRANT SPECTRUM VIII FROM
ELLSWORTH KELLEY PROVIDES A BURST OF COLOR;
ARTIST SARAH MORRIS USED FILM OF GEHRY WORK-
ING ON THE MUSEUM TO CREATE STRANGE MAGIC FOR
THE OPENING OF THE FACILITY.
know … when I sketch, there’s a continuity to my
line. I said: ‘If you’re going to look back, why not
go back 300 million years?’ There were fish, and
they’re beautiful.”
Gehry’s maritime themes are by now well docu­
mented. He’s lived and worked in and around
Santa Monica since the 1960s and stunned the
architectural world in the ’70s with the renovation
of his own home. Then, in 1997, eight years after
winning the Pritzker Architecture Prize, Gehry
was discovered all over again when the titanium
sails and fish scales of the Guggenheim Museum
Bilbao appeared in Spain. Praise was swift: The
museum instantly became one of the most widely
recognized and admired structures in the world;
Philip Johnson himself called the commission “the
greatest building of our time.” Projects such as the
Walt Disney Concert Hall in Los Angeles (opened
in 2003), the New World Center in Miami Beach
(2011), and the widely praised residential sky-
scraper 8 Spruce Street in Lower Manhattan (2011)
only burnished Gehry’s reputation.
But it was the success of the Guggenheim Bil-
bao that prompted Bernard Arnault, chairman and
chief executive officer of LVMH and chair of the
Fondation Louis Vuitton, to recruit Gehry in 2001 to
create a Paris museum in the same seafaring genre
as its predecessor. It began with a fluid line on a
piece of paper. Today, 12 wondrous glass sails—
silk-screened with tiny white dots to lend them a
milky appearance—enclose, or partly enclose, a
highly irregular 19-part “iceberg” made of pristine,
ultra-high-performance white concrete.
The entire structure, which contains 11 galleries
and a soaring auditorium, rests on an artificial sea
fed by a vast, stair-step fountain that drops water
over its wide lips in waves. From the glassed-in
auditorium, the cascade competes for attention
with the stage curtain (Spectrum VIII, 2014) and
decorative panels (Red, Yellow, Blue, Green and
Purple, 2014) specially commissioned from legend-
ary minimalist artist Ellsworth Kelly. Meanwhile,
a grotto that captures the water is surrounded by
OPPOSITEPAGE:©2014IWANBAAN/THISPAGE:©FONDATIONLOUISVUITTONMARCDOMAGE
Here in Paris’ rarified 8th arrondisse-
ment is the shopping hub known as
the Golden Triangle, bounded by Ave-
nue Montaigne, Avenue George V,
and Avenue des Champs-Élysées. At the inter­
section of the last two, the Louis Vuitton flagship
commands the corner. I can see it from my room
across the street at the Hôtel Fouquet’s Barrière.
Door to door: 45 seconds.
The brand’s artistic aspirations are on full display
in the store’s art gallery on the top floor of the seven-
floor showplace. But the trip requires an elevator
operator because the lift makes the ascent (and
later, the descent) in total darkness that ensures a
cleansing passage—or a claustrophobic panic; take
your pick. “I’m sure you have a secret light switch
for emergencies,” I say to the elegantly black-
suited attendant. “Yes,” he says, in lightly accented
English, and smiles. “We have everything.”
The flagship of the world’s most valuable luxury
brand does indeed have everything. Last fall, for
its “The Icon and the Iconoclasts” series, Louis
Vuitton reeled in some of the choicest talents in
fashion, art, and architecture to reinterpret a LV
bag or piece of luggage: Karl Lagerfeld, Marc
Newson, Christian Louboutin, and Rei Kawakubo;
BY THE
NUMBERS
12
GLASS SAILS PARTIALLY
ENCLOSE THE MUSEUM
3,000
SQUARE METERS IS
THE SIZE OFTHE
LARGEST SAIL
179
GIRDERS SUPPORT
THE SAILS
19,072
CURVED PANELS CLAD
THE ICEBERG CORE
11
GALLERIES CONTAIN
PERMANENT
COLLECTIONS
AND TEMPORARY
EXHIBITIONS
190,000
DIGITAL FILES
COMPOSE THE
EXECUTION MODEL
Cindy Sherman, who created a whimsical, irrev-
erent contribution; and the Toronto-born Frank
Gehry, arguably the world’s greatest living archi-
tect, who deconstructed a handbag to irreverently
asymmetrical effect.
Yet Gehry’s real masterpiece for Louis Vuitton
is located two miles away in a park on the western
edge of the city, in the Bois de Boulogne’s Jardin
d’Acclimatation. It is among these pines and oaks
and grassy lawns that the Frank Gehry–designed
Fondation Louis Vuitton—a modern art museum
that opened last October—looks like it has washed
up after falling from the crest of a mighty wave.
IN THE FILM Frank Gehry: Interview with Fré-
déric Migayrou and Aurelien Lemonier, the archi-
tect recalls his friends and colleagues, the great
20th-century masters—Philip Johnson, Robert
Venturi—and muses about their post­modern
appropriation of Greek and Roman classical
motifs. Gehry explains the different direction that
became his signature: “I didn’t like the continu-
ing references to Greek temples,” he says, “even
though I did it for Loyola [Loyola Law School
in Los Angeles]. I didn’t think that was the way
forward … I was looking for something, I don’t
54 Summer 2015 55 Summer 2015

37. flown overnight to New York, where within
10 days they’ll be roasted, ground, brewed,
and served to some of the city’s most discern-
ing coffee drinkers. In coffee terms, that’s a
lifetime less than even the elite roasters of
today can boast, and it’s what makes Devo-
ción unlike any coffee company out there.
“The most high-end guys boast that they
start roasting after only two or three months,”
explains Sutton, 35, as he takes a break from
preparing Devoción’s stylish 3,600-square-
foot space on Williamsburg’s Grand Street.
“For me, that’s already old.”
Sutton knows a thing or two about cof-
fee, having studied its flavors and aromas
through extensive blind tastings known as
cuppings. He’s even had coffee analyzed in a
special food laboratory. “There are more than
1,000 organic components in each bean,” he
says, “and a lot of the components, the min-
erals, the flavors, start fading away because
of oxidation.”
Sutton wasn’t always involved with coffee. Strangely, he can
trace the origin of Devoción to the advent of music-sharing site
Napster. In the mid-2000s, he was working in the United States
as a sound engineer, but the proliferation of online file sharing
sent the music industry into a tailspin—and Sutton into a bout of
soul searching. Before long, he found himself working for a mass
market coffee importer focused on buying and selling Colombian
coffee as cheaply as possible, which led him to an idea.
“Colombian coffee had become the best coffee
in the world in a general sense, but not among
specialty coffees, so I started asking why,” he
says. “I realized that it had no traceability. Nobody
really knew, bean by bean, where it came from.”
Getting the back story on every bean is a
tall order in a country with half a million coffee
farmers, but Sutton would soon have his chance
to try. The price of coffee spiked, the Colombian
peso plummeted against the dollar, and his
import business dried up. “I had an opportunity
to go back home to Colombia and do something
meaningful,” he explains. “I wanted to do some-
thing that supports my people and my country,
and shows the world that Colombian coffee
can be better than Ethiopian coffee or Central
American coffee.”
Then, in 2006, he found his inspiration. “My
first partner, Nelson Vargas, who is now my
manager for quality, introduced me to a coffee
that I couldn’t believe, one of the Típica beans,”
he says. “I told him, ‘This is the best coffee I’ve
ever had in my life. This is what I’m looking for.’”
F SUTTON IS A COLOMBIAN COFFEE EXPERT, VARGAS IS A
LEGEND. With a lifetime of experience in the fields, roast-
ers, labs, and cafés, he’s come to the conclusion that the
finest, most unique types of coffee are growing in Colom-
bia’s most inaccessible regions, where, ironically, decades of
LEFT Various teas made from
the husks of coffee beans.
ABOVE Owner Steven Sutton
says speed to market is what
makes his coffee unique.
“THE MOST HIGH-END
GUYS BOAST THAT
they start roasting
after only two or three
MONTHS.
FOR ME THAT’S ALREADY
OLD.”
71 Summer 2015

41. Miami 2014, Ando and her work were honored at the showroom
of the ultra-high-end, Paris-based Ligne Roset furniture brand
(Pierre Roset is a collector of Ando’s work) and displayed at Art
Miami. Next up: the 2015 Venice Biennale.
The globetrotting Ando has a delicate manner that belies
nerves as steely as the materials she uses in her art—and this
she attributes to the American part of her upbringing. “In Japan,
you’re very constrained,” she says. “There is protocol, there is
etiquette, and there is formality. But America is very free, in
that nobody really cares if I’m of mixed race. In Japan, that’s a
big deal.” With bracing candor, the light-eyed Ando shares the
memory of being teased for having “eyes like a cat.”
But when she spent time as a child in Santa Cruz, “it was a
place of no rules, wild country,” she says, suddenly authoritative.
“So if I want to turn a piece of steel into an ethereal rainbow per-
manently, I’m going to figure that out, and I don’t care if nobody’s
done it before me. I will go there. For me, impossible does not
exist. My will is very strong.”
Ando’s recent “Kisetsu (Seasons)” show at Sundaram Tagore
was composed of a series of meditative pieces, informed by
innovative techniques as well as her continuing exploration of
time and transition, ethnicity and identity. In these pages, she
shares her intentions behind, and interpretations of, five key
works from that exhibition. l
KOYO
2015 // FICUS RELIGIOSA (BODHI) SKELETON LEAVES,
MONOFILAMENT, DYE
“Koyo cannot be directly translated into English, but it’s
something like ‘the transformation of autumn leaves.’ The
leaves have been placed in bleach and I use a small brush
to remove the green part of the leaf, and what you’re left
with is the bones, the veins of the leaves. I dye those in a
multitude of autumn colors and sewed them in a cascading
configuration. Autumn is sort of a somber time, so the
piece is a metaphor of the impermanence of all things.
Being attuned to nature is something I really love about
Japanese culture.”
have two very different senses of cultures, lan-
guages, ethnicities,” Ando explains, “so I’m drawn to
finding the quiet, tranquil, harmonious spaces, and
my pieces are an expression of that.” Educated at the
University of California at Berkeley and Yale, she references her
16th-generation Japanese sword-smithing and Buddhist lin-
eage by combining tangible and intangible elements—metals
and pigment, reflectivity and light—to create transcendent
paintings and sculpture.
Represented by the esteemed Sundaram Tagore Gallery in
New York’s Chelsea gallery district, Ando produces her contem-
plative art (called “a must-see” by The New York Times) by use of
anodized aluminum, dyes, lacquer, and resin—it’s art that con-
jures an enigmatic world of ghostly, gorgeous color gradients.
Her pieces have taken their place on the national stage, in gal-
leries in Los Angeles, New York, Seattle, Paris, Berlin, Australia,
and Tokyo, while her public commissions have included projects
in South Korea, London, New York, and California. For Art Basel
“I SHIKI FOUR SEASONS GRID
2014 // PIGMENT, URETHANE, RESIN, AND DYE ON
ALUMINUM
“This represents the spectrum of everything that could
possibly occur during the year—changes of light, feel-
ings, emotions, memories. It’s 80 pieces and it’s a medi-
tation upon the whole gamut of what one may see or
feel during the year. It’s not overly complex in terms of
its composition, but it has a lot of variation. I’d like to
keep going with that work. Basically, my work from
when I started in 2002 and 2003 has been about the
same painting, with different iterations, as I look very
carefully at color and light, and dissect every facet.”
SUNDARAMTAGOREGALLERY
78 Summer 2015 79 Summer 2015

42. BRONZE DIPTYCH
2014 // URETHANE AND PIGMENT ON ALUMINUM
“This time I thought it would be interesting to do
a transformation of a material into another mate-
rial. So I thought I would take a piece of aluminum
and turn it into something that looked like bronze.
It’s fascinating to me—I love alchemy, I’m a chem-
ist at heart, and I have a very scientific approach.
I have this curiosity, and then it becomes an equa-
tion to solve. This diptych has the warmth of
bronze. I’m a lover of bronze. The piece reflects
light as bronze does, a warm light and a soft light,
while aluminum is very cool; it’s almost blue. The
piece is between representation and abstraction.
I was raised in a tradition of Buddhism called the
middle path: not too austere, yet not without any
rules—the middle path. That appeals to me very
much, because I’m not Asian and I’m not a Cauca-
sian—I’m right in the middle.”
FORMAL BLACK KIMONO
2014 // HAND-DYED ANODIZED ALUMINUM
“The black kimono is worn during the most formal
occasions—weddings, funerals—and it has your
family crest on it. It’s almost anachronistic—in war,
the crest is on your horse, on your banner, on your
sword, on your helmet. It’s your clan, your identity.
Still, to this day, there is meaning and identity from
that. Now, the kimono that I constructed is actu-
ally made from hand-dyed aluminum plates that
are tied together with blackened steel string. I
came up with a very unusual technique of perma-
nently hand-dyeing the metal. I applied the dye
with a brush, like a painting, onto anodized alumi-
num. It’s very pioneering; I’m probably one of the
first people to use it. I dyed the aluminum to look
like fabric so it has that fade, that transition, and
that’s my way of suggesting a continuum—it trans-
forms but also maintains. So I like the language of
a gradient that reverts back to itself. And I wanted
to make something inspired by Japanese armor,
but I used aluminum, which is a very contempo-
rary material, because I wanted to look both back-
ward and forward.”
SUNDARAMTAGOREGALLERY
80 Summer 2015 81 Summer 2015
KU (EMPTINESS/THE SKY SHOU
SUGI BAN)
2014 // CHARRED CEDAR SIDING AND URETHANE
AND PIGMENT ON ALUMINUM
“Ku is an installation with an interior and an exte-
rior. The interior has one contiguous painting
going all the way around the room, made from
aluminum. The idea was to create a quiet space,
as if one could go inside the painting. You have a
small space—a room—and the exterior is clad in
charred, black cedar. The material is architectural
cladding—fireproofing—and these panels were on
the sides of the temple I grew up in. Another
material connection I have to this piece is that
my home in Santa Cruz had a giant redwood,
more than 300 feet tall and more than 15 feet
across. It was struck by lightning and died, so my
dad made a treehouse for my sister and me in this
hollow tree. I have some of my happiest memories
from playing there. And I thought the only thing
that connects my childhood in Japan and Santa
Cruz was this charred wood. So I constructed a
space of memory.”

43. ROYRITCHIE
PURSUITS
NEW ORLEANS /// JACKSON HOLE /// VERMONT