On the occasion of the publication of Brice Marden: Catalogue Raisonné of Paintings, 1961–2023 this fall and of a corresponding exhibition of the artist’s work at Gagosian, New York, we invited Glenn Lowry, a friend of the artist’s and former director of the Museum of Modern Art, to reflect on moments spent with Marden and on the enduring power of his art.
AMA Venezia
Celebrating the collector Laurent Asscher’s new art space in Venice, William Middleton underscores the richness of Asscher’s relationships with artists.
The Generative Surface
Eileen Costello explores the oft-overlooked importance of paper choice to the mediums of drawing and printmaking, from the Renaissance through the present day.
With the opening of the 61st Biennale di Venezia, a number of the magazine’s features engage with the history and contemporary culture of the storied city. Jenny Saville speaks with art historian Stefania Ventra to mark her major exhibition at Ca’ Pesaro–Galleria Internazionale d’Arte Moderna. In an essay bridging the Republic of Venice and the twenty-first century, Ben Street explores the timeless resonance of Giovanni Domenico Tiepolo’s tragicomic frescoes. And Nancy Spector discusses her bold pairing of Richard Prince and Arthur Jafa in an exhibition at the Fondazione Prada.
In the world of literature, Helen Oyeyemi shares the second installment of her fiction series As You Wish, Mary Gaitskill speaks with Jill Mulleady about their recent Picture Books collaboration inspired by Faust, Wyatt Allgeier interviews Andrew Durbin on the occasion of his new dual biography of Peter Hujar and Paul Thek, and Alana Pockros guides us through the refractive wonderlands of novelist Elaine Kraf.
Elsewhere in the issue, Carlos Valladares ponders Charli XCX’s mockumentary The Moment, Janne Sirén examines Anselm Kiefer’s mythological figures, and three luminaries from the worlds of design, fashion, and food—Ronan Bouroullec, Michèle Lamy, and Enrique Olvera—consider the furniture of Donald Judd.
Plus: the artists who have bared all, the Michael C. Rockefeller Wing at the Met, Gertrude Stein’s museum of modern art, Elizabeth I’s favourite kitchen utensil, how Jenny Saville turns paint into flesh, and a preview of Treasure House Fair; in reviews: Hiroshige in London, Frida Kahlo and Mary Reynolds in Chicago, and art versus AI
APOLLO MAGAZINE (March 31, 2025): The April 2025 issue features ‘The sonic visions of Oliver Beer’; The Frick returns to Fifth Avenue and How the Acropolis became modern….
The Frick returns to Fifth Avenue
An interview with Oliver Beer
How the Acropolis became modern
In praise of ‘degenerate’ art
Also: The duchess who scandalised Spain, why the market for women’s art is slowing, Dutch paintings at Apsley House, how Bugatti built a style icon, the sensational designs of Alphonse Mucha, and a preview of Art Dubai; reviews of Gertrude Abercrombie in Pittsburgh, Medardo Rosso in Vienna, and a history of image-eating. Plus: Will Wiles on a French avant-garde portrait with a family connection
Sotheby’s (November 17, 2024):In late September of 1925, Pablo Picasso, his wife Olga and their young son Paolo returned to Paris from their annual summer holiday in the South of France.
The summers were beginning to blend together for Picasso, who was tiring of the swell set he and Olga socialized with. The home they returned to at 23 rue la Boetie was a changed one. After lengthy negotiations, Picasso had acquired an additional floor of the building to be used as his studio.
He set about immediately modifying the space: removing doors from their hinges, bringing in his copious art supplies (and a limited amount of furniture) and stripping back most of the existing wallpaper. After years of jostling with his elegant and socially aspirational wife for space in their apartment on the floor below he relished a place to colonize as his own.
Gagosian Quarterly (Fall 2024) – The new issue features Jessica Beck discussing Andy Warhol’s Mao series, contextualizing Warhol’s return to painting in the early 1970s and his attraction to subjects of notoriety. We dig into the archives to honor the inimitable Richard Serra, who had over forty exhibitions at Gagosian since his first in 1983. Elsewhere in the issue, Salomé Gómez-Upegui examines the work of artists confronting the climate crisis, and Péjú Oshin speaks with Jayden Ali about his expansive view of architecture.
Andy Warhol’s Insiders at the Gagosian Shop in London’s historic Burlington Arcade is a group exhibition and shop takeover that feature works by Warhol and portraits of the artist by friends and collaborators including photographers Ronnie Cutrone, Michael Halsband, Christopher Makos, and Billy Name. To celebrate the occasion, Makos met with Gagosian director Jessica Beck to speak about his friendship with Warhol and the joy of the unexpected.
Against the backdrop of the 2020 US presidential election, historian Hal Wert takes us through the artistic and political evolution of American campaign posters, from their origin in 1844 to the present. In an interview with Quarterly editor Gillian Jakab, Wert highlights an array of landmark posters and the artists who made them.
HURVIN ANDERSON’S “BARBERSHOP” series belongs to a long tradition of painterly fascination with the spaces of social interaction that reflect both the physical realities and ideological aspirations of society at large. Anderson’s exhibition “Salon Paintings” at England’s Hastings Contemporary, organized in collaboration with the Hepworth Wakefield, also in England, and Kistefos Museum in Jevnaker, Norway, brings together a body of work he produced between 2006 and 2023 that portrays, albeit in the loosest sense of the word, men’s hair salons.
View of “Time Travel: Italian Masters Through a Contemporary Lens,” 2023–24. From left: Ross Bleckner, Day and Night, Hour by Hour, 2023; Josephine Halvorson, Smiley Face, 2023. Photo: Jason Mandella.
“Time Travel: Italian Masters Through a Contemporary Lens,” a group exhibition that featured a selection of Renaissance paintings alongside works created by present-day artists, was a type of paragone, except that the debate was not whether painting or sculpture is the superior art form, but whether these historical pieces—executed at a time when grand themes and exquisite craft, among other criteria, determined their value—are better or worse than objects made by artists now, when such antiquated metrics seem well beside the point.
Phillips (January 16, 2024) – Curators Tony Abeyta and James Trotta-Bono explore highlights from New Terrains: Contemporary Native American Art, which they curated alongside Bruce Hartman.
The exhibition provides context for the evolution of contemporary Native art, including the influence of modernism, post-war, and pop art.
Artforum Magazine
Boomers Daily 
