The Week In Art Podcast (December 8, 2023): This week: the final big art market event of the year, Art Basel in Miami Beach. The Art Newspaper’s associate digital editor, Alexander Morrison, talks to our acting art market editor, Tim Schneider, in Miami about the fair, as tensions rise ahead of the pivotal 2024 US election.
In Athens, the National Museum of Contemporary Art, or EMST, is next week opening a months-long programme which will end up with the entire museum filled with women artists. We talk to EMST’s director, Katerina Gregos, about the programme, called What if Women Ruled the World? And this episode’s Work of the Week is two objects: the 15th-century Florentine artist Francesco Pesellino’s panels telling the story of David and Goliath, made for a luxurious cassone or chest for the Medici family.
The panels belong to the National Gallery in London and have just been restored for a new exhibition there, Pesellino: A Renaissance Master Revealed. We talk to Jill Dunkerton, who did the restoration, about these extraordinary paintings.
Art Basel in Miami Beach, Miami Beach Convention Center, until Sunday, 10 December.
What if Women Ruled the World? begins at EMST, Athens, on 14 December.Pesellino: A Renaissance Master Revealed, National Gallery, London, until 10 March 2024.
Artforum Magazine (December 5, 2023) – The latest issue features Fifteen Artists reflect on 2023, “Manet/Degas” at the Metropolitan Museum of Art in NYC, The Top Museum Exhibitions of 2023, The top ten art exhibitions of 2023, and more…
“MANET/DEGAS,” the fall blockbuster at the Metropolitan Museum of Art, New York, begins with an unabashed, double-barreled bang: Édouard Manet’s last great self-portrait, paired up alongside one of Edgar Degas’s first. The juxtaposition provides a thrilling object lesson in the stolid compare-and-contrast curatorial methodology that defines the exhibition, but if it’s meant to show the two artists on an equal footing, it doesn’t stage a fair fight. Forty-six years old when he executed Portrait of the Artist (Manet with a Palette), ca. 1878–79, Manet is at the height of his painterly power, looking backward and forward at once.
Lauren Halsey, the eastside of south central los angeles hieroglyph prototype architecture (I), 2022, glass-fiber reinforced concrete. Installation view, Metropolitan Museum of Art, New York, 2023. Photo: Hyla Skopitz.
To take stock of the past year, Artforum asked an international group of artists to select a single exhibition or event that most memorably caught their attention in 2023.
KENTURAH DAVIS Lauren Halsey (Metropolitan Museum of Art, New York) Emerging onto the Met’s rooftop, I’m greeted by sphinxes with faces carved in the likeness of the artist’s loved ones. These figures surround and protect a large architectural monument, its surfaces engraved with coded inscriptions that pay homage to the people and energy of South Central Los Angeles. The structure forgoes the exuberant color I’ve come to expect in Halsey’s work, making me think about the ways Egyptian art and architecture have changed over time—once colorfully embellished, and now animated purely by shadows. In this way, Halsey’s sanctuary suggests that it’s been standing there for millennia, transformed by the sun and communing with the cosmos.
Annette Frick, Ein Augenblick im Niemandsland (A Moment in No Man’s Land), 2010, twenty-one gelatin silver prints, each 15 3⁄4 × 11 3⁄4″.
VAGINAL DAVIS Annette Frick (MARTa Herford, Germany) You can easily get royally preggers if you stand too close to the hairy eyeball of Annette Frick. For more than forty years, the Berlin-based photographer-filmmaker and consummate artiste has been known mainly for her captivating chronicles of underground queer scenes. At her retrospectacle “A Moment in No Man’s Land,” was enchanted by her sensual large-format self-portraits and stunning nude cycle “Aus dem Wasser” (Out of the Water), 2007–2008, referring to mythological figures such as Ondine and Lilith. I had never seen her architecture-portrait hybrids and was mesmerized, wondering just what else she has hidden in her voluptuous archive.
Saâdane Afif, The King Coal Laments, 2023, coal sculptures by miners, UV prints on aluminum, wood, aluminum trusses. Installation view, Wilhelm Hallen, Berlin. Photo: Andrea Rossetti.
ANRI SALA Saâdane Afif (Wilhelm Hallen, Berlin) It’s difficult to express the poetry and poignancy of Saâdane Afif’s exhibition “The Coalman,” part of the artist’s larger endeavor to give form to a heptahedron. Here, the artist installs his personal collection of coal sculptures handcrafted by miners in their spare time alongside Is it possible that you have no coal left?, 2023, a facsimile of a letter from French composer Claude Debussy to his coal merchant, penned during the particularly severe winter of 1916–17. The repurposed missive serves as a coda to the exhibition as a whole, posing a question that resonates in manifold ways in the present (perhaps even applying to a shortage of new forms).
Ken Kiff, Man and Blue Mask, ca. 1975, oil on panel, 31 7⁄8 × 24″.
The New Yorker – December11, 2023 issue: The new issue‘s cover featuresBarry Blitt’s “Special Delivery” – The artist discusses holiday shopping and his prized Popeye punching bag.
After the Civil War, Jefferson Davis, the President of the Confederacy, was to be tried for treason. Does the debacle hold lessons for the trials awaiting Donald Trump?
Jefferson Davis, the half-blind ex-President of the Confederate States of America, leaned on a cane as he hobbled into a federal courthouse in Richmond, Virginia. Only days before, a Chicago Tribune reporter, who’d met Davis on the boat ride to Richmond, had written that “his step is light and elastic.” But in court, facing trial for treason, Davis, fifty-eight, gave every appearance of being bent and broken. A reporter from Kentucky described him as “a gaunt and feeble-looking man,” wearing a soft black hat and a sober black suit, as if he were a corpse. He’d spent two years in a military prison. He wanted to be released. A good many Americans wanted him dead. “We’ll hang Jeff Davis from a sour-apple tree,” they sang to the tune of “John Brown’s Body.”
The companies had honed a protocol for releasing artificial intelligence ambitiously but safely. Then OpenAI’s board exploded all their carefully laid plans.
At around 11:30 a.m. on the Friday before Thanksgiving, Microsoft’s chief executive, Satya Nadella, was having his weekly meeting with senior leaders when a panicked colleague told him to pick up the phone. An executive from OpenAI, an artificial-intelligence startup into which Microsoft had invested a reported thirteen billion dollars, was calling to explain that within the next twenty minutes the company’s board would announce that it had fired Sam Altman, OpenAI’s C.E.O. and co-founder. It was the start of a five-day crisis that some people at Microsoft began calling the Turkey-Shoot Clusterfuck.
PBS NewsHour (November 29, 2023) – The great painter John Singer Sargent, an American expat, is the subject of a new show at Boston’s Museum of Fine Arts. It reveals much about his methods and why his work remains relevant more than a hundred years later.
Apollo Magazine– December 2023: The new issue features Best in show: art at the Kennel Club; The magnificent art of Marisol; The rise of the Renaissance woman, and more…
The Chess Game (detail; 1555), Sofonisba Anguissola. National Museum, Poznan
Among the art-gallery going public, is anyone still unaware that there have always been women artists, even before the 19th century? Perhaps a few still think that women first picked up their paintbrushes around the time they started campaigning for the vote. Certainly, the further back you go, the more surprising it may seem – given the limitations placed on women – that some were nonetheless able to build successful artistic careers. But beginning in earnest with the National Gallery’s blockbuster Artemisia Gentileschi exhibition of 2019, a flurry of shows has put the names of various Renaissance women in lights. Just this year, we have had ‘Lavinia Fontana: Trailblazer, Rule Breaker’ at the National Gallery of Ireland, ‘Mary Beale: Experimental Secrets’ at Dulwich Picture Gallery, ‘Artemisia Gentileschi: coraggio e passione’ at the Palazzo Ducale in Genoa, and ‘Sofonisba Anguissola: Portraitist of the Renaissance’ at the Rijksmuseum Twenthe in Enschede, to name only a few.
The Morgan Library & Museum (November 27, 2023) – The Morgan is home to one of the world’s largest and most important collections of drawings by Giambattista Tiepolo (1696–1770) and his eldest son Domenico (1727–1804), with more than 300 representative examples of their lively invention and masterful techniques.
Combining highlights from the Morgan’s collection with carefully selected loans, this exhibition will provide a comprehensive look at the Tiepolos’ work as draftsmen, focusing on the role of drawing in their creative process and the distinct physical and stylistic properties of their graphic work. At the core of the collection and exhibition are substantial groups of Giambattista’s drawings that relate to major ceiling fresco projects of the 1740s and 1750s.
A fresh look at the style, function, and material properties of these working drawings has yielded new insights into their purposes. Most significantly, the exhibition presents for the first time extremely rare pen studies for Tiepolo’s magnum opus, the ceiling fresco above the staircase of the Würzburg Residenz of 1752, and a group of bold sketches newly connected with his ceiling fresco of 1754 at the Venetian church of Santa Maria della Pietà.
Other sections of the exhibition highlight the introduction of Domenico to the family workshop, the exchanges between father and son, and the great series drawings by both: Giambattista’s fantastic heads and figures seen di sotto in su, and Domenico’s drawings of animals, biblical scenes, and contemporary life.
The exhibition will end with a wall including striking examples from Domenico’s late Punchinello series. October 27, 2023 through January 28, 2024
The New Yorker – December 4, 2023 issue: The new issue‘s cover features Sergio García Sánchez’s “Ready to Soar” – The artist discusses rhythm, rigor, and the linguistic capabilities of art.
The revelation that ChatGPT, the astonishing artificial-intelligence chatbot, had been trained on an Nvidia supercomputer spurred one of the largest single-day gains in stock-market history. When the Nasdaq opened on May 25, 2023, Nvidia’s value increased by about two hundred billion dollars. A few months earlier, Jensen Huang, Nvidia’s C.E.O., had informed investors that Nvidia had sold similar supercomputers to fifty of America’s hundred largest companies. By the close of trading, Nvidia was the sixth most valuable corporation on earth, worth more than Walmart and ExxonMobil combined. Huang’s business position can be compared to that of Samuel Brannan, the celebrated vender of prospecting supplies in San Francisco in the late eighteen-forties. “There’s a war going on out there in A.I., and Nvidia is the only arms dealer,” one Wall Street analyst said.
On November 6th, Donald Trump emerged from a New York City courtroom, where he had testified in a civil trial alleging that he and others in the Trump Organization had committed fraud, and gave himself a great review. “I think it went very well,” he told reporters. “If you were there, and you listened, you’d see what a scam this is.” He meant that the case was a scam and not that his company was. “Everybody saw what happened today,” he went on. “And it was very conclusive.”
The German actress Sandra Hüller probes characters with unusual depth. But to portray a Fascist wife, in “The Zone of Interest,” she reversed her usual approach—and withheld her empathy.
In “Anatomy of a Fall,” Hüller stars as a successful novelist accused of murdering her husband. The camera often lingers on her face as it shifts like quicksilver between playfulness, defiance, and evasion.Photograph by Mark Peckmezian for The New Yorker
The Times and The Sunday Times (November 24, 2023): Lose yourself among lily pads, potbellied Dutch merchants and Venetian canals. Laura Freeman and Waldemar Januszczak curate the finest of this year’s art books, taking in Monet, Picasso, Gwen John and more
In his eighties, Claude Monet was spotted by a younger artist, “old but still very handsome”, wrapped in a sumptuous fur, sitting on top of a dyke “in a bitter west wind which ruffled his long white beard, mingling it with the foam of the waves”. This transporting biography by the Financial Times’s art critic Jackie Wullschläger paints the impressionist as a man for all seasons, out in the dawn and the dusk and the snow, obsessed, possessed, with capturing the fleeting effects of light, shade and water, calm as millpond or whipped up by a storm. Chocolate box? Jamais! Monet mounted the barricades of modern art, revolutionising the way the world could be seen and painted. A book for art-lovers — and for gardeners too. Art and literature, Monet proclaimed, were all humbug. “There’s nothing but the earth.” Laura Freeman
All the Beauty in the World: A Museum Guard’s Adventures in Life, Loss and Art by Patrick Bringley
Who would have thought that the outstanding art book of the year would be written not by a curator or an art historian or even an artist — but by a museum guard? For ten years Patrick Bringley worked at the Metropolitan Museum in New York, directing visitors to the Islamic collections and watching out for angry protestors. It turned out to be a remarkably fruitful experience. Bringley weaves the story of a personal tragedy involving his sick brother with startling insights into museum life and — most impressively — into the great art in the Met’s collection. Waldemar Januszczak
Looking at Picasso by Pepe Karmel
If you have been living under a rock in 2023, you will not have noticed that this year was the 50th anniversary of the death of Picasso. The rest of us couldn’t avoid it. Countless exhibitions, events and books commemorated the occasion, but this was the most useful. Focusing on the art rather than the biography of the man, it’s a generous and sensitive text with brilliant illustrations. WJ
Pauline Boty: British Pop Art’s Sole Sister by Marc Kristal
Pauline Boty was “the Wimbledon Bardot”, “an ice-cream of a girl” and by her own mocking, ironic reckoning, “a happy, dumb blonde”. She was so much more than that, as this fizzing biography shows. Meet Boty the Sixties It girl, pop artist, voice-of-a-generation broadcaster and “anti-ugly” campaigner against hideous postwar development. Marc Kristal gives you the crumbling studios of the Royal College of Art, the creative squalor of Notting Hill bedsitters and the thrill of finding your feet (in knee-high boots) in swinging London. Boty died appallingly young, but her life was no tragedy. It was full of mischief, provocation and promise. This book brings Boty to life, painting, protesting and dancing the miniskirted twist. LF
Venice: City of Pictures by Martin Gayford
Venice isn’t just the most painted city in the world, it is probably the most written about too. Finding a fresh angle from which to view it is a challenge. Gayford’s answer is to understand the city and its history through the splendid and varied art it has inspired. Packed with potted histories and informed anecdotes, this is a tome to pack on a visit to La Serenissima. WJ
Giacometti in Paris by Michael Peppiatt
Alberto Giacometti used to claim that really he would have liked to carve and cast voluptuous women such as Marilyn Monroe. “The more I tried to make them broader, the narrower they got.” Giacometti’s beanpole people became icons of 20th-century art and Michael Peppiatt’s compelling portrait cuts to the core of the sculptor’s “strange life and his stranger fame”. Giacometti’s Paris studio is a character in its own right: a filthy lair filled with the most extraordinary figures and fragments, with a leaking roof, a tree growing up through the floor and a local fox given the run of the place. Appalling and fascinating. You’ll never look at a Giacometti the same way. LF
The New Yorker – November 27, 2023 issue: The new issue‘s cover features Chris Ware’s “Harvest” – The artist discusses the rituals of gathering and building memories.
hen Joyce Carol Oates was thirty-four, she started a journal. “Query,” she wrote on the first page. “Does the individual exist?” She felt that she knew little about herself—for instance, whether she was honest or a hypocrite. “I don’t know the answer to the simplest of questions,” she wrote. “What is my personal nature?”
Seventy years ago, before she was galactically famous, before she dropped an “a” from her first name, before she was a Broadway ingénue, before her nose bump was aspirational, before she changed the way people hear the word “butter,” before she was a macher or a mogul or a decorated matron of the arts, Barbra Streisand was, by her own admission, “very annoying to be around.” She was born impatient and convinced of her potential—the basic ingredients of celebrity, and of an exquisitely obnoxious child. When Streisand was growing up in Brooklyn, in the nineteen-forties, she used to crawl onto the fire escape of her shabby apartment building and conduct philosophical debates with her best friend, Rosyln Arenstein, who was a staunch atheist.
Fine Arts Museums of San Francisco (November 17, 2023) – Bringing a new perspective on the beloved Renaissance artist, “Botticelli: Rhythm of the Line” reveals the central role that drawing played in Sandro Botticelli’s art and practice. This short documentary takes viewers through the streets of Florence, where the artist lived and worked, to the Uffizi galleries, home of Botticelli’s most striking masterpieces.
The story is told by Furio Rinaldi, curator of drawings and prints at the Fine Arts Museums of San Francisco, Jonathan K. Nelson, art historian at Syracuse University in Florence, and Cecilia Frosinini, art historian at the Opificio delle Pietre Dure in Florence. These voices speak in chorus to give us an original narrative that illuminates Botticelli’s life, process, and legacy.
Botticelli Drawings is the first exhibition ever dedicated to the drawings of Renaissance artist Sandro Botticelli (ca. 1445 – 1510). Exploring the foundational role drawing played in Botticelli’s work, the exhibition traces his artistic journey, from studying under maestro Fra Filippo Lippi (c. 1406 – 1469) to leading his own workshop in Florence. Featuring rarely seen and newly attributed works, the exhibition provides insight into the design practice of an artist whose name is synonymous with the Italian Renaissance.
Botticelli’s drawings offer an intimate look into the making of some of his most memorable masterpieces, including Adoration of the Magi (c. 1500), which will be reunited with its preparatory drawing, surviving only in fragments. From Botticelli’s earliest recorded drawings through expressive designs for his final painting, the works on display reveal the artist’s experimental drawing techniques, quest for ideal beauty, and command of the line.
Botticelli Drawings is on view from November 19, 2023 – February 11, 2024.
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