about the work they want.” She traveled with them to
Miami for Art Basel on one of the eight consecutive
pilgrimages they’ve made to the event in the past
years. Walker adds, “They ‘got’ Bret Slater’s work
right away. It was immediate. They were among the
first to absolutely love it. Deedie Rose did, too.” The
latter bit of information operates as a kind of ultimate
imprimatur—however, it’s not needed. Their digs
speak mightily for their discerning taste.
Another piece hangs adjacent to their leather
sofa: James Nares’s work Go. It’s a spectacular
work of frenetic showmanship that easily merits
its vibrant name; both the piece and the moniker
intimate a visceral demonstration of art-as-verb.
Also, it operates well as an ideal “branding logo” for
Luttmer and Gómez, who exude a sense of constant
movement. It loops and roils and its color, red with
a hint of magenta, is completely in tune with a sense
of excitement and unexpected extravagance. They
also purchased a Matthew Chambers piece and an
Alexandra Grant work at TWO x TWO for Aids
and Art. Again, these and all their works are bits
of eye candy that mirror the lives of a couple who
travel to London, Geneva, Rome, Barcelona, Madrid,
and Vienna the way most folks travel to visit family
members in far more mundane locales. They’ve also
made trips to China, Hong Kong, Russia, Turkey,
and countless other points on the globe. Paris, for
instance, comes off as somewhat dull when asked to
list some of their favorite destinations. They don’t
dislike it; it simply doesn’t offer the same kind of
exoticism that exploring the 15th-century Incan ruins
in the Peruvian region of Machu Picchu does—
which, of course, they’ve done and remember fondly.
The works they collect are primarily contemporary,
although a few are post-WWII works. However, the
list of their art cache reads like a catalogue of enviable
finds. Among them, in addition to artists already
mentioned, are Jay Shinn, Alexander Calder, and
Cuban artists Wilfredo Lamb and José Fuster—as
well as seemingly countless others.
Luttmer instigated a particularly interesting work
that serves as a visual centerpiece for their dining area.
It’s huge and imposing and offers insight into both
his talent for ideas and Gómez’s game willingness
to explore new artistic options. It’s a work that they
designed and commissioned and, in sum, explores the
means by which verbiage can be powerfully deployed
to operate as artwork. It’s a quote taken from Oscar
Wilde, to whom they give all due and proper credit.
It reads: “Be Yourself. Everyone Else is Taken.” It’s
an urgent exhortation to live your life on your own
terms. And these are two people that certainly heed
their own advice, and they’ve done so to excellent—
not to mention delectable—effect. P
This page, above: Pard Morrison, Cloudeater, 2009, enamel on acrylic, 15 x 12 in. Bret Slater, Teeves,
2011, marker on paper, 4 x 3 in.; Below: Pard Morrison, Small Prayer, 2008, patinated aluminum,
16 x 10 x 1 in.