We’re thrilled to announce that an interior design firm has used several pieces from Lux Archive to decorate a $7 million penthouse in New York City.

Not only that…the artwork will be shown on a HGTV television show later this year (more details to follow)!

Know what else is good news? You don’t have to be a millionaire to own artwork from Lux Archive. Our limited-edition prints come in a range of prices, many starting as low as $100.

Checkout these pics featuring artwork we represent by James Knight-Smith and Michael Hall.

Top: images by James Knight-Smith. Bottom: images by Michael Hall.

Wall Street Journal Photo Editor Rebecca Horne interviews renowned architect Glen Coben.

You may not know Glen Coben, but you probably know his work. During his 48 years as an architect, Mr. Coben has built many familiar spaces. Among Glen & Company’s recent projects are 59 restaurants, with 47 of them in New York, such as Mario Batali’s Del Posto. Before opening Glen & Company in 2000, some of Mr. Coben’s projects included: The Four Continents Bridge and The Isuzu Space Station in Japan; domestic and international NIKETOWNS; The Theater for the Academy Awards and The Hacienda Football Stadium in Los Angeles; and The Coca-Cola Sky Field in Atlanta, Georgia. Mr. Coben takes a collaborative approach to designing interiors, and sees artwork as an essential element.

Interior shot of the Hilton New York Fashion District © Hilton Fashion District Hotel

RH: When planning spaces, how do you think about integrating artworks?

GC: We begin by understanding the mission of the project….what are the goals, what is the function, what will the guests experience in the spaces/spaces?  Once we have the “outline” of the story, we begin to solve the problem spatially.  Once we have the flow and spaces defined, we look at focal points and what nuances will assist us in adding layers to the narrative.

RH: How does this work–can you give an example?

GC: We designed a hotel which originally opened as “fashion 26 – A Wyndham Hotel” (it is now referred to as Hilton Fashion District).  Our focus was to bring the notion of American Garment-making into a narrative.  The front desk was designed as an homage to a sewing table….we commissioned an artist to create cast aluminum “bobbins” that are used to create a screen to hide the computer monitors.  We also commissioned the artist Devorah Sperber to create a wall hanging piece as a focal element in the Lobby.  Devorah works in spools of thread, which were the perfect complement to the theme!  We also commissioned several photographers to create a series of images for the guest rooms….these images are of details of garment making….from a close-up of a sewing machine’s needle to a pile of buttons and the knot of a tie.

RH: Can you elaborate a bit on what you mean by “story”?

GC: The “story” of a project is the narrative we use to create a connection between the project and the guest.  We always strive to “localize” and customize the guest experience…whether it is a retail store for Nike that tells the guest all about the product and imbues the space with the values of the brand, or a restaurant for a chef such as Dr. Miguel Sanchez Romera, where the story told was all about him–where he studied, where he practiced his medicine and what his passions are. The hard part is creating the narrative, but once it is established, all future design decisions are based on that “story”.

RH: How does art change the identity of a space? Do you work with images that play off shapes or colors already built into the space?

"After Mondrian (Fashion 26)", site specific commission by Devorah Sperber, 2009 1632 spools of thread, stainless steel ball chain and hanging apparatus Dimensions 59.5 x 59.5"

GC: Art selected or commissioned carefully adds to the overall narrative of the design. Conversely, art hung on a wall just for the sake of it is like a bad music soundtrack–it is obvious that it just wasn’t thought out!

RH: Are there guidelines you can use for both kinds of spaces- a home and a hotel room, or are they at odds with each other?

GC: No rules. Except the pieces need to “mean” something. Just as our designs are meant to tell stories, each of the parts of the puzzle need to add to that narrative.

RH: What is the most important function art can have in a space, in addition to adding to the design narrative?

GC: It shouldn’t smack the guest in the face–it should be in harmony with the space and surroundings.

Ever buy a piece of art you love and then get home and have no idea how or where to hang it? There are so many options out there: frames, mounts, colors, shapes, styles, sizes…it can be completely overwhelming! So we’ve sought out the advice of Kati Curtis a top-notch interior designer to help sort things out.

Kati is Principal of Nirmada Interior Design and shares some great tips for displaying fine art. Kati was recently featured in The Wall Street Journal and The Financial Times, and she has a wealth of interior design experience including luxury New York City homes, offices, and boutique hospitality projects.

© Zack Seckler

LUX ARCHIVE: Framing artwork is the classic option for displaying artwork. When do you suggest mounting a photograph instead of framing it?

CURTIS: Mounting fine photography directly to a substrate was historically the only way to display photography. Mounting instead of framing was preferable so that the viewer could see the photograph without the glare of a glass cover. Nowadays, non-glare glass and Plexiglas, allow us the freedom to protect a photograph without compromising the look and clarity of a photo. Only in very recent years has framing photography become acceptable, and we typically do this in more traditional settings. Mounting photography to Plexiglas is our go-to method for contemporary environments. It’s a simple, clean and sophisticated way to display and protect your art.

LUX ARCHIVE: When would you recommend people stick with a traditional frame for their artwork?

CURTIS: Stick with a traditional frame when framing a portrait or landscape painting. Modern art and fine photography are better suited for simple, clean frames that don’t detract from the art itself.

LUX ARCHIVE: Can you tell us some do’s and don’ts of displaying fine art?

CURTIS: Yes…

Don’t let your frame compete with your art. The art should be the star. A fancy frame highlights a fancy piece, but could overshadow a modern piece or detract from the details of a photograph.

Don’t buy art to match the furniture. A truly curated art collection speaks for itself.

Don’t just go black and white when it comes to fine photography. Ansel Adams’ are beautiful, but color photographs can be sophisticated, stunning, and add interest to your interior.

Don’t blow up or Andy Warholize photos of yourself, your kids or your pets. There is a time and place for everything and you don’t need to memorialize yourself just yet.

Don’t Ask your friends or co-workers if they like or approve of your art. Art is extremely subjective, and what matters is if you’re happy with it.

Do always use a professional to mount or frame your art – don’t insult you art with anything less than the consideration it deserves.

Do buy art that speaks to you personally. The amount you paid for it is irrelevant! If you love it it’s great.

Do hang art at eye level. Most people hang art too high. 60” on center above your finished floor is a great rule of thumb.

Do realize that fine photography can be a sophisticated and high-end addition to your home or office. Photography can be slightly less expensive than paintings, but still provide a significant collection you’re happy with for generations.

Do preserve your photos with high quality, museum grade mounting boards and non-glare, UV protective glass.

LUX ARCHIVE: Any parting thoughts?

CURTIS: Remember – all rules are meant to be broken! Follow your gut – do what you like, and most importantly buy and display what has meaning to you!

Do you have any tips of your own? Share your thoughts on our Facebook page and on Twitter!