Today, Surface is excited to announce the launch of Design Dose, our shoppable platform for covetable, special-edition, and must-have pieces of design. For the design community, this new initiative provides a platform to showcase exceptional work and connect with a passionate audience who appreciates the nuances of quality and craftsmanship. Design Dose gives our loyal readers an entirely new portal to discover up-and-coming creative talent while gaining access to limited-release products from the brands they already love.

Beyond curation, Design Dose offers an elevated experience not typical of traditional e-commerce. Expect incisive product write-ups, designer Q&As, and studio visits from our discerning editors; custom visual treatments and lively photography; and short-form videos that offer a behind-the-scenes look at how leading designers bring their ideas to life.

To kick off the platform’s launch, Surface partnered with designer Joseph Algieri to create a one-of-a-kind exclusive design object entitled Sun Spots. Available for purchase now, the Brooklyn designer’s latest table lamp is clad in 350 bright yellow earplugs, and synthesizes his experimental ideas into a radiant piece that delivers a fresh dose of whimsy. Shop now.

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In 2017, the fashion designer Kerby Jean-Raymond joined forces with Reebok to create a sneaker and a few clothing items; thus, the Reebok by Pyer Moss collection was born. The two have since established an ongoing partnership that now sees Jean-Raymond joining the legacy sportswear brand as vice president of creative direction. In his new role, Jean-Raymond will lend his bold creative visions to Reebok’s design strategies and work alongside its global marketing and development team to execute his ideas. He’ll also spearhead Reebok’s Product with Purpose program as part of the brand’s United Against Racism commitments, which launches in 2021. Reebok will debut all the products created under his direction the following year.

Jean-Raymond’s star is quickly rising. Besides gracing the cover of Surface’s March issue, the Brooklyn local was recently named American Menswear Designer of the Year at the 2020 CFDA Awards. Credit his meteoric rise to a disruptor mindset, monumental collections, and revolutionary runway shows that have turned Pyer Moss into a cultural powerhouse. His label’s marquee name belies his own humble outlook: “Every time an interviewer would ask me what else I’d want to be a creative director for, I would never say, but in my head it was always a footwear brand,” Jean-Raymond wrote on Instagram. “I haven’t had a job in nine years, so please get me a lunch box.”

When: Oct. 1–Dec. 19

Where: Gagosian, New York

What: Time magazine’s June 15 issue featured a special report on the protests sparked by George Floyd’s killing at the hands of Minneapolis police. On the cover, a harrowing painted image by Titus Kaphar, Analogous Colors (2020), gave pause—it depicts a Black mother holding the silhouette of a child, which the artist created by physically cutting into a canvas. In an accompanying poem, the artist writes: “In her expression, I see the Black mothers who are unseen, and rendered helpless in this fury against their babies. As I listlessly wade through another cycle of violence against Black people, / I painted a Black mother… / eyes closed, / furrowed brow, / holding the contour of her loss.”

For his inaugural solo exhibition with Gagosian, Kaphar expands on this emotionally resonant message with paintings that present a haunting narrative of Black motherhood, wherein collective trauma crescendoes in the disappearance of children. Like Analogous Colors, Kaphar makes it literal by physically excising each child’s image from the canvas, revealing only the blank gallery wall underneath. The absence of each juvenile figure—whether seated in a stroller or held in a woman’s arms—clashes with the intense coloration of the environments in which the figures are set, heightening a pervasive tension.

Much of the L.A. art world has been divided over the fate of the Los Angeles County Museum of Art (LACMA), which has been busy demolishing the east side of its campus to make way for a sprawling new glass-and-concrete structure designed by Peter Zumthor. Critics have likened the Swiss architect’s building, which crosses 30 feet above Wilshire Boulevard, to a “small-city airport terminal,” while deriding how an amended interior scheme will reduce the museum’s exhibition space by 53,000 square feet, or roughly 33 percent. The lack of transparency in being able to view interior layouts in advance also ignited debate.

That wait is now over. LACMA has finally unveiled interior views of the building, which will feature 110,000 square feet of galleries designed around a scheme that aims to eliminate perceived hierarchies between artistic styles. With this approach, the museum’s 17 curatorial departments are free to move key pieces from the museum’s permanent collection all around the 50 galleries. The new building will finish construction in 2023 and open the following year, around the same time a new Metro stop will be built across the street from Chris Burden’s Urban Light.

Virserius Studio is an award-winning team of designers, artists, and storytellers. The firm draws from its wide-ranging expertise in architecture, business, fashion, and the fine arts to create one-of-a-kind interiors and unexpected moments that bring joy to guests and clients alike.

Surface Says: Virserius Studio injects personality into each project, which become stunning reflections of their communities. One of their latest hotels, the W Atlanta Midtown, draws inspiration from the nearby historic Ansley Park by including artworks and elements of nature.

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