Participating designers include the following design teams along with the work of art they chose from the permanent collection, and a description of their approach to their designs:
Bill Beaudreau, CRB Interiors
Luis Jiménez, Vaquero,
1981, lithograph. Anonymous gift.
The kinetic energy, plasticity of form, vibrant color and inherent rich materiality in this work evoke the sort of complex combination that symbolizes an inspired interior. Starting with the art provides an opportunity for me to return to the beginning—research the artist, review the elements and principles of design, ponder and consider how the space should feel, how people will react. It’s a rare opportunity to explore and execute for fantasy’s sake alone. >>
Bungalow Pros
William Weege, Untitled, screenprints with stitching, circa 1970s.
Gift of Don and Nancy Eiler.
Upon learning the artist did quite a bit of political art in the ’60s and ’70s, I realized this was a unique opportunity for me to incorporate my own views (perhaps in a very subtle way) into my design vision. When I look closely at the work, I see symbols that I have begun to feel some ambivalence toward, such as star shapes, and images that might resemble our U.S. map, or an abstracted U.S. flag. I suggest looking beyond what initially meets the eye to see how these views have been expressed in my space. >>
Davison Architecture + Urban Design
Chuck Close, Robert Manipulated, 1982 handmade paper.
Gift of Pat and Larry Crocker, in memory of Joe Wilfer.
We were conceptually drawn to this piece because of its materiality and sense of minimalism, while being simultaneously photorealistic. The artist’s approach is very architectural, the way he divides the surface into a meticulous grid and builds up layers of material to create a cohesive whole from the individual parts. The artwork inspired us to piece together a space from many individual elements—to create a toned-down mosaic work space, using recycled objects collected from our own work process, as well as reclaimed furnishings. >>
Flad Architects
Ellsworth Kelly, Oranges, 1965-66, lithograph.
Gift of ellsworth snyder, in memory of Nathan Samuel Blount.
This work of art was selected for its clarity and simplicity. The artist has conveyed the essence of his subject with just four circular continuous lines and two dots. In a similar way, we attempt to create spaces that utilize economical, sustainable designs and materials. The artwork allows for a great deal of flexibility in our workplace design. At the same time, it reflects our overall approach to design as a continuous, interactive, circular process in which an initial concept leaves room for further definition and detail through collaboration between design team and client. >>
Inner View Consulting and Indocara Global Home Furnishings
Lee Weiss, Beach Stones, 1987, watercolor.
Gift of the artist.
We chose this work for its natural elements, beautiful colors and textures. Our space is designed around the five elements of feng shui—Water, Wood, Fire, Earth and Metal—to demonstrate the benefits of this ancient Asian practice in a living space that combines the contemporary with the natural. The artwork itself represents Earth, both in the size of the piece and the subject matter.
Inner View Consulting >> Indocara >>
InteriorLOGIC Facility Planning
Alyson Shotz, Forced Bloom 4, 2006, Lambda print.
Museum Purchase Fund.
Initially drawn to its ethereal organic form, ultimately we chose this piece for its multiple layers of interest. It first appears to be black and white, yet there is actually subtle color within. A closer look also reveals detailed floating clusters of soft forms deep within the structure. The artist explores space, shape and form in her pieces. She uses forms to create the illusion of landscapes. We decided to use a similar concept of geometry and geography, interpreted as the shell of a structure and the elements within, to build our own interior landscape. >>
Jenssen Design
Robert Stackhouse, Diviners, 1990, etching and aquatint.
Gift of Diane Seder and Bruce Rosen.
I had a strong attraction to the images, color and texture of this work. The ship and lattice have such immediate architectural qualities and implications. The piece also has what I interpret to be dreamlike qualities, which led me to select a sleeping space as my subject. As the first move in the design process, the piece has influenced decisions such as incorporating nautical geometries, as well as lattice textures, into the space. My goal was to create a room whose spirit is expressed by the print—within a palette of comfort, utility and environmental priorities. >>
H. Krueger & Associates Interior Designers Incorporated
Jonathan Borofsky, People Running, 1977-82, lithograph.
Madison Art Center Purchase Fund.
Our first and main concern in selecting this artwork was the power and impact of the piece—the striking contrast of the black-and-white palette, the physical size and strong abstract brushstrokes. It is vital that the artwork communicate its presence to those present. Therefore, the particular supporting elements that we have incorporated serve to emphasize the artwork and its impact, but also complement the overall style of the entire setting. The artwork is accentuated by the overall room design through the use of color and bold supporting elements. >>
Laurie Driscoll Interiors
Jason Jägel, Theme for a Drunken Sailor, 2001, gouache and pencil.
Gift of Sam and Shanit Schwartz.
This work immediately captured my attention. After I looked at it for a few minutes, I viewed the other pieces. Then I came back and viewed it again. Then I chose another piece. However, this piece continued to speak to me. I loved the scale. This piece would be a dominant element in any room. I loved the detail. You want to “read” it. You want to know the story. The content is very urban and bold. It would complement bold colors and modern and urban items and materials. I knew I had to change my selection and use this piece. >>
Linville Architects
John Buck, Untitled (Les Grand Eclipse), 1982, woodcut.
Anonymous gift.
We initially passed over our selection, being drawn to works that exemplify the classic beauty and scale we’ve been trained to admire. Eventually that felt too “safe” and this piece emerged as the least predictable—reaching beyond beauty (surface) to primal (internal), managing to be equally challenging (dark) and optimistic (light). A troubled reaction to perplexing imagery quickly gave way to an appreciation of the complex story conjured by the starkly simple, primitive icons surrounding the main figure. Accordingly, we have constructed a living/studio environment imagining a timeless place when such a work would have been created. >>
Madison Environmental Group
Robert Wilvers, Chicago Impressions, 1953-54, watercolor.
Madison Art Association Purchase Award.
We were attracted to this vibrant work’s positive expression of urban living, powerful sense of place and strong connection to the Midwestern experience of city life. These are the thematic concepts that inform our design. The home represented by our room is sustainably designed to provide a revitalizing retreat while embracing the urban context. Like the city, the room offers a space-efficient, highly functional environment. It works as an extension of, as well as an escape from, the urban community portrayed in the artwork, while creating a positive human experience with a lighter ecological footprint. >>
Tania S. May
James Rosenquist, Terrarium, 1978, lithograph. Gift of Richard Brock.
The first thing I noticed about this piece was the tranquil background accented with hints of red. The left half feels earthy, loose, dynamic, playful—even a little dirty—while the right half feels sterile, rigid, reflective, empty, mysterious and lonely. Ironically, the slice of face within the outline of a bottle seems more like a mirror reflecting life than a terrarium containing it. My space pays homage to the cool, crisp elements in the piece as it plays up the warm, earthy features. A space for human habitation should feel warm and welcoming, for that is good for the soul.
Tom McHugh, AIA
Claes Oldenburg, Floating Three-Way Plug, 1975, softground etching. Gift of the artist.
I was first drawn to this piece by its scale and also by how it might offer my room an implied vista or window. From a distance there’s a sense of balance and serenity— appropriate qualities for a bedroom. Taking cues from the work, I am “floating” the bed in the middle of the space. My design collaborator, Claudia Mills, has woven rugs that evoke waves on a lake or ocean, as well as a silk comforter with ethereal overtones. Look for nautical or electrical expressions in the accessories, along with references to “three,” as in the title of the artwork. >>
Rubin’s Furniture
Andy Warhol, $1, 1982, portfolio of six screenprints.
Gift of Stephen Dull.
Our team at Rubin’s Furniture chose six Andy Warhol prints in a series titled $1. We feel these prints create a very dramatic contrast of colors against the interior lobby space, which is similar in feel to Warhol’s famed loft studio, The Factory. Warhol’s style was our inspiration in choosing the furniture and accessories. We love the art, we love the colors and we love the whimsy of the prints. We feel it is very important for the colors to truly showcase the space and the furniture, while still complementing the interior finishes and atmosphere. >>
Sandy Gordon Interiors
Jennifer Bartlett, Untitled, 1979-80, woodcut.
Purchase, through a National Endowment for the Arts grant with gifts from Mr. and Mrs. Julian Harris and Janet Ela.
The subject and the minimalist content of this work caught my attention and I felt it was a good starting point for the concept of a room vignette. The subject is simple in shape and color and depicts what resembles some sort of a housing structure. The subject of the artwork is in keeping with my vision for my space—simple and sustainable. The linear aspect of the composition is repeated in the furnishings. The artwork adorns the walls and complements the overall color scheme. >>
Studio Snaidero Wisconsin and VIVO
Pat Steir, Long Vertical Falls #3, 1991, soapground and spitbite aquatint.
Bequest of ellsworth snyder.
While using a work of art as a focal point is traditional, the space this print occupies most certainly is not. Visually, the fluidity of the image has been a significant inspiration to us. The juxtaposition of positive and negative space creates a nice energy and has been the most influential factor in our design. Intellectually, we were intrigued by the abstract quality of the composition, and how one person’s perception of the significance of the “falls” differs from another’s, with no interpretation being right or wrong.
Studio Snaidero Wisconsin >>