SPI, begun in 2004 by Sarah Shetter and Alison Palevsky, was founded on the idea that modernism can be successfully combined with comfort and livability. The two designers, who met as undergraduates at the University of Southern California, share a design aesthetic that mixes the California lifestyle with both ancient and modern traditions.
SPI oversees all phases of a project, including demolition/remodel plans, color choices, custom furnishings, specialized wall and floor finishing, and art selection and installation. With a clear focus on the requirements of the client, the two partners bring professionalism and clarity to the complex task of designing interior spaces for individual needs. Together, they create environments of lasting quality.
SPI has been published in Architectural Digest, Interiors, California Home + Design, The LA Times, Variety, Angeleno, and Town and Country.
In an effort to give you a sneak peek into the highly anticipated window displays at LEGENDS OF LA CIENEGA 2011: CELEBRATE ART, we asked the Legends designers to share the inspiring thoughts and aesthetics behind their Legends window in the La Cienega Design Quarter. "The Legends Style Sheet" sponsored by Jean de Merry, presents a series of fun and unconventional interviews with our participating window display designers.
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Donald Judd (1928-1994) was an American minimalist sculptor (a term he stridently disavowed). In his work, Judd sought autonomy and clarity for the constructed object and the space created by it, ultimately achieving a rigorously democratic presentation without compositional hierarchy. In later work he made room sized installations that made the spaces themselves his playground and the viewing of his art a visceral, physical experience. He produced radical work that eschewed the classical European ideals of representational sculpture. Judd believed that art should not represent anything that it should unequivocally stand on its own and simply exist.
He revolutionized practices and attitudes surrounding art making and the exhibition of art, primarily advocating for the permanent installation of works by artists in carefully selected environments. Judd achieved this goal for his own work and that of his colleagues at both his studio and residence at 101 Spring Street in New York and in various locations in and around Marfa, Texas. Judd’s first solo exhibition was in 1957 at the Panoras Gallery, New York. The same year he began graduate studies in art at Columbia University. Over the next decade, Judd worked as an art critic for ARTnews, Arts Magazine and Art International. His subsequent writings on art and exhibition practices would prove to be some of his most important and lasting legacies.