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78

Dish: ThasosOpen on Fort LauderdaleBeach, this sparklingGreek taverna is exactlythe restaurant we’ve beenwaiting for.

55

Building a Better BathTropic takes a look at thenew Florida bathroomwith five great examples.Don’t miss our “Bath Mats”materials section!

46

London Calling!This special, 8-page section reviews the TentLondon and 100% Design shows, givingtravel advice as well.

90

Dish: JuviaGlamorous withoutgoing over the edge,Juvia brings true alfresco dining with a view to South Beach.

4 TROPIC MAGAZ INEN O V E M B E R 2 0 1 2

Issue Highlights... TropicEditor-In-ChiefJohn T. O’Connor

Senior EditorHilary Lewis

European EditorMegan Aquilina

Wine EditorLyn Farmer

Contributing EditorsAndrew Kaufman, Winnie Brown, Robin Hill,

Nina Korman, Lloyd Jackson, Marie-Chantal Ladenius Klausner, Jillian Whitaker

Operations ManagerSue Neiduski

Advertising ProductionAdam Grant Design, Inc.

Senior Account ExecutiveKara Scharer

Contributing Photographers & IllustratorsRobin Hill, Jose Lopez, Rollin McGrail,

Scott Pearson, Myro Rosky

Editorial: Editorial@TropicFL.com

ON THE COVER: World renowned architect Bjarke Ingels has created a cutting edge, mixed-use design for the Marina Lofts.

See our cover story on page 37.

© 2012, Tropic Magazine, Inc. No part of this periodical may be reproduced without the written permission of Tropic Magazine, Inc. Neither the

publishers, editors nor advertisers will be held responsible for any errors found in this magazine. The editors accept no responsibility for the accuracy of statements

made by the advertisers. Ads in the magazine are not intended as an offer where prohibited by state law.

13

Mid-Century ModernBuilding of the monthMiami’s Bacardi Buildings,long empty, are back in thespotlight... and their futurelooks very bright indeed.

37Game Change: Bjarke Ingels’ design for Marina LoftsMarina, curated restaurants, shops and true, city-sized apartments all come together in a way thatis sure to put Lauderdale on the high design map.

18

Fifteen MinutesAndy’s legacy goes onand on. A quarter centuryafter his death, the Museumof Art | Fort Lauderdaleopens a new exhibit.

22

Marketing ModernismThe lesson that good de-sign - from all eras - sellsat a premium is not loston these two specialists inthe real estate field.

27

Nautical off Las Olas Jillian Whitaker reports ona stunning contemporaryhome recently completedon Fort Lauderdale’s LasOlas Isles.

F L O R I D A L I V I N G & D E S I G N

18 TROPIC MAGAZ INE

WORKING FOR ANDY WARHOL at the “Factory” inthe early 1980s, I was exposed firsthand to anartist who was obsessed with many things. I re-member a man obsessed with collecting Art Decosilver and amazing jewelry, (some of which hewore secretly underneath his signature black turtle-necks) I recall a man with an obsession for goingout what seemed like almost every night of theweek, and I remember an artist who used to callme up on weekends and say, “Oh... Hi John.Gee, well, I mean what are you doing? Whydon’t you come to the office and help me paint?"

Who was going to turn that down? Not me. Weworked many weekends with Warhol’s other fulltime assistants Jay Shriver and Benjamin Liu oncanvases, from carefully folding and blow dry-ing his huge Rorschach paintings to creatingbrightly colored backgrounds for the Toy seriescommissioned by Galerie Bruno Bischofberger inZurich, to painting in just the right flesh coloredbackgrounds for a portrait of Prince Charles. Butperhaps my favorite series Warhol created whileI was under his employ was the Ad Series of1985. This consisted of ten 40" X 40" silkscreen

paintings drawn from famous advertisements,from Judy Garland’s Blackglama mink ad to anad for Lifesavers that read “Please don’t lick thispage,” to the infamous ad for Volkswagen's Bee-tle with the subtitle, “Lemon.”

So, of all people, I was very excited to see theMuseum of Art | Fort Lauderdale announce theexhibition entitled Warhol and Cars: AmericanIcons, beginning in November, just in time for afrenzy that descends each year on South Floridaknown as Art|Basel | Miami Beach.

Yes, the exhibition chronicles another of Warhol’smany obsessions, (rich desserts were another - although he never actually ate any) But more fas-cinating for me is how this exhibition, curated byGail Stavitsky, chief curator at the Montclair ArtMuseum, covers the full range of the artist’s ca-reer. If looked at closely, this exhibition can reveal connections to his influences at differentpoints of four, very prolific decades. Starting withWarhol's early drawings the exhibition includesa pen and wash drawing of an incredibly long,1958 Cadillac Coupe de Ville signed “Andy

15 Minutes...And Counting.Andy Warhol and Cars: American Iconsopens at the Museum of Art | Fort Lauderdale

Seven Cadillacs, 1962Silkscreen ink on Canvas© AWF

T

19TROPIC MAGAZ INE

Warhol” upside-down, if I’m not mistaken, byWarhol’s mother. The sketchy, dotted pen linethat was his early style becomes stronger with thepassing years. As Warhol gets into his photo-silkscreen phase, for a while, this hand-drawnline --- perhaps not mechanical enough for the1960s-era Warhol --- disappears altogether.

One of the strongest of these screenprints, still insimple black and white is Twelve Cadillacs, a paint-ing completed in 1963. Later works, such as theaforementioned Lemon and even later works showthe intense collaboration Warhol, had with his littlediscussed screen printer, Rupert Jasen Smith. By theearly 1980s, Andy’s work had gotten more com-plex with layering of blocks of color, often basedon cut and ripped pieces of silkscreened Color-Aidpaper Warhol kept in the back of the Union SquareFactory. Case in point, Warhol’s Truck silkscreen of1985, also in this exhibition.

Near the end of his career, although still experi-menting with everything from stitched togethermultiples of black and white photos to musicvideos for - who else - The Cars, we start to see

the simple, hand drawn line reappear in his art,perhaps egged on by Warhol’s sometime collab-orators of the period, Jean Michel Basquiat andKeith Haring.

One original painting I would have loved to seein this exhibition is Orange Car Crash 14 Times.This diptych from Warhol’s Disaster Series repre-sents a time when the artist - also obsessed withdeath - created a series that might mute his fearsby - in effect - turning a disaster into colorful“wallpaper” through repetition. But on the ex-tended description next to the painting at NewYork’s Museum of Modern Art there is a quotefrom the elusive Warhol on why the second panelin pure orange is included with the piece. “Thetwo are designed to hang together however theowner wants,” said Warhol, “It just makes thembigger and mainly makes them cost more.” Nowthat’s the Andy I remember.

But as the green version of that original canvasrecently fetched $71 million at auction, I can un-derstand why its orange cousin will not be visit-ing South Florida any time soon.

Text John O’Connor

Truck, 1985Silkscreen ink on Lenox Museum Board© AWF

European License Plate, 1976-1986, 1986Machine stitched photographic prints© AWF

Andy Warhol and Cars: American IconsNovember 10 - February 10, 2013

Museum of Art | Fort Lauderdale1 East Las Olas BoulevardFort Lauderdale, FlMoAFL.org