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“That, coming from him, was really awesome.”) (When Lawrence later told Ritts, who became a client of Twentieth, of his earlier career ambitions, the photographer declared, ” ‘Stefan, you have become who you were meant to be,’ ” recalls the gallerist.
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“I guess I just wasn’t meant to be the next Herb Ritts, who I deified.” He stopped pursuing photography full time and, in 1990, moved to Los Angeles.
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The jobs were thrilling, but “like acting, it is an extremely competitive area,” he recalls of professional photography.
After getting a fine arts degree in photography, he assisted photographers in New York City and on magazine shoots in Europe, eventually becoming a photographer himself. Seeing the work in this venue allows you to be completely engulfed in what the artist is trying to do - you can get to the essence.”įor Lawrence, design has always been intuitive. “We wanted to highlight the individual output of specific makers who have spent time putting together something that’s important. “There is nothing to distract you,” says Lawrence. THE NEW has the feel of an art gallery, with minimalist white walls and concrete floors. This fall, it will showcase work that British artist and designer Julian Mayor created specially for the exhibition, which will debut his lighting pieces. Currently at the gallery is a show from Swedish rug brand Henzel Studio featuring a collaborative series from such contemporary artists as Helmut Lang, Marilyn Minter and Richard Prince. Whereas Twentieth presents curated assemblages of works by various designers, THE NEW displays each piece as part of a singular aesthetic system - be it the gradient verve of Fernando Mastrangelo’s sculpted pieces, Mattia Biagi’s expressive sets or Boots’s elemental quartz creations. In 2016, when the space adjacent to Twentieth became available, Lawrence and his longtime collaborator, Daniele Albright, seized the opportunity and launched THE NEW, a separate exhibition space focused largely on solo shows. On the wall directly behind them is Lawrence Weiner’s From Before and After rug, flanked by Sanford Biggers’s Ibeji (Duet) to the left and Videre Licet’s Meltfloor 1 to the right. Gallerist Lawrence (left) stands with Joakim Andreasson - who curated the collection of artist-designed rugs for Henzel Studio - on Carsten Höller’s Mushroom carpet. Lawrence seems to have been at the vanguard of every fine design movement since 1999, compelled then and now by the question, “What’s next?” All photos courtesy of Twentieth unless otherwise notedįor two decades, Twentieth has presented work that has something to say beyond, “Hey, check me out.” The evolution of its aesthetic has followed that of the design world itself, from the revival of mid-century modern, to the rise of Dutch wunderkinds, to the current ascent of contemporary designer-makers and artisans. Top: THE NEW’s current display of works by contemporary artists for the rug company Henzel Studio includes Jwan Yosef’s Masking (left), Jonathan Horowitz’s Rainbow Cross for Two and, on the floor, an untitled piece by Helmut Lang. 1.Contemporary design dealer Stefan Lawrence operates two neighboring galleries on Los Angeles’s Beverly Boulevard: the two-decade-old Twentieth presents curated selections of work by various talents THE NEW (above) launched in 2016 to focus on solo shows (photo by Jessica Sterling).
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