London Review of Books (LRB) – May 18, 2023 issue: The War in Khartoum, Vermeer’s Waywardness, Palestinians in Paraguay and Claire Hall on Anaximander.
In London, I had taken A Young Woman Standing at a Virginal for a dependable rest point on strolls around the National Gallery. In Amsterdam, relocated to join 27 other Vermeers in the Rijksmuseum exhibition, its strangeness re-emerged. This canvas, executed towards the end of Vermeer’s relatively brief career (some four years, perhaps, before he died aged 43 in 1675), commits to a tactic he had earlier only toyed with: to set an internal picture as a wholly self-contained block within his own composition, uninterrupted by foreground forms.
For more than a decade, two “recovering” anthropologists have brought documentary closer to the human experience. Now they’ve made the camera part of our flesh and blood.
ArtReview (May 2023 Issue) – Featuring Frida Orupabo, Isaac Julien, Sarah Pierce, Kahlil Robert Irving and Christina Quarles; columns on faltering art markets and questions of what art should do for a society; and much more
Art has long looked to the recent past for inspiration, but might the return of post-Internet art just be too much, too soon?
Frida Orupabo, on the cover of ArtReview May 2023, mines images sourced from colonial archives, film, fashion and family albums to create collages that carve representation and empowerment from stereotype. Her visual references, ranging from clips of singers like Nina Simone and Billie Holiday, to the art of Carrie Mae Weems and Kara Walker, are incorporated into multilayered works, some pinned with metal tacks to look like the kind of vintage paper doll whose appendages are manipulable. The sense of ‘reclaiming the power to choose how a woman’s body, and more specifically Black female sexuality, is presented and received’, writes Fi Churchman, ‘is a central theme of Orupabo’s work’.
Sotheby’s (May 6, 2023) – Fraught with chilling grandeur, Spider from 1996 is the ultimate embodiment of Louise Bourgeois’ singular contribution to the history of Modern Art.
Among the earliest monumental iterations of Bourgeois’ Spiders, the present work represents the absolute zenith of her artistic practice and the most ambitious embodiment of her signature motif; decades later, her towering Spiders stand among the most iconic sculptures of the twentieth century.
In its elegant yet otherworldly presence, Bourgeois’ spellbinding Spider speaks to the conceptual concerns at the very heart of her oeuvre: an unflinching confrontation of her own emotions and psyche, translated into sculptural form.
Claire Dederer’s deft and searching book surfaces a “fan’s dilemma” over such figures as Vladimir Nabokov, Woody Allen, Willa Cather and Roman Polanski.
Expanding on a popular essay published in The Paris Review a month after the exposure of Harvey Weinstein’s sexual predation, “Monsters” sustains an essayistic, sometimes aphoristic tone throughout 250-odd pages.
Welcome to three novels set in locales where life is exceedingly difficult.
By Alida Becker
AT THE HOUR BETWEEN DOG AND WOLF by Tara Ison
The title comesfrom a French expression for twilight. Sure enough, her novel sends us to the dusk that borders the familiar and the wild, the known and the unknown. It’s where our beliefs and suspicions can cast dark shadows over our lives. And, of course, the lives of others.
Alarmed by the country’s political divisions, Jeff Sharlet embarked on an anguished quest to understand the rise of antidemocratic extremism. In “The Undertow,” he documents his findings.
By Joseph O’Neill
THE UNDERTOW: Scenes From a Slow Civil War, by Jeff Sharlet
The premise of “The Undertow,” Jeff Sharlet’s anguished new book of reportage, is that the United States is “coming apart.” The disintegration is political. It involves the rise of the autocratically inclined Donald Trump; the attempt by members of the Republican Party to overthrow the election of Joe Biden in January 2021; and, during the Biden presidency, the overturning by the Supreme Court of Roe v Wade.
The Art Newspaper May 4, 2023: Featuring the coronation in the UK. As Charles III is crowned at Westminster Abbey this weekend, Anna Somers Cocks, founder of The Art Newspaper and a former assistant keeper of metalwork at the Victoria and Albert Museum in London, tells us about the objects involved in the coronation and the monarchical history they convey.
The Metropolitan Museum of Art in New York this week opens Karl Lagerfeld: A Line of Beauty, the latest in the hugely successful Costume Institute exhibitions. The German designer, who died in 2019, was also the inspiration for this year’s Met Gala, the museum’s star-studded fundraiser.
We talk to Stephanie Sporn, a fashion historian and arts and culture writer, about the exhibition, the gala and the controversy around Lagerfeld’s offensive comments about a range of issues. And this episode’s Work of the Week is Good Housekeeping III (1985/2023) by the British artist Marlene Smith. She was part of the Blk Art Group, a collective of young Black British artists active in the late 1970s and 1980s, which is the subject of The more things change…, an exhibition at the Wolverhampton Art Gallery in the UK.
Smith has re-created the work, first made in 1985, for the show, and tells us more about its making, its context, and the history of the Blk Art Group. Karl Lagerfeld: A Line of Beauty, Metropolitan Museum of Art, New York, until 16 July.The more things change…, Wolverhampton Art Gallery, UK, until 9 July.
The New York Review of Books – May 25, 2023 issue: Michael Hofmann on Goethe’s last years, Jerome Groopman on the business of biotech, Joan Acocella on Balanchine, Jed S. Rakoff on William O. Douglas’s environmentalism, Adam Hochschild on 1619 and 1776, Willa Glickman on grassroots labor unions, Brenda Wineapple on Susanna Moore, Ian Johnson on art looters, Jenny Uglow on Samuel Pepys and the wreck of the HMS Gloucester, Nicholas Guyatt on financing the Civil War, Elaine Blair on how we talk about sexual assault, poems by Eugene Ostashevsky, D. Nurske, and Ama Codjoe, and much more.
In Johann Eckermann, Goethe found an amanuensis made in heaven.
Conversations with Goethe: In the Last Years of His Life by Johann Peter Eckermann, translated from the German by Allan Blunden, with an introduction and notes by Ritchie Robertson
A strange time to publish—strange time to publish anything—a translation of Eckermann’s Conversations with Goethe (or should that be Goethe’s Conversations with Eckermann?), in six hundred static, major-key pages that can easily feel like twice as many. The big man, himself by now somewhat fallen on hard times, recorded by the little acolyte.
A new book reveals the split personality of the biotech industry: an altruistic enterprise that creates breakthrough treatments for patients in need, and a bare-knuckle business that seeks to generate astronomic profits and stop competitors from developing better treatments.
A research scientist for Pharmacyclics, Sunnyvale, California, 2013. In For Blood and Money, Nathan Vardi writes that when Pharmacyclics—which developed ibrutinib, a treatment for chronic lymphocytic leukemia—was bought by the pharmaceutical giant AbbVie in 2015 for $21 billion, ‘the deal…set the new high-water mark for success in the biotechnology industry.’
Pace Gallery (May 3, 2023) – In our new film, Zhang Xiaogang discusses his unique approach to representing light in his paintings, as seen in his solo exhibition, “Lost,” on view at our Hong Kong gallery through May 18.
The artist has been refining his expressive depictions of light for some 30 years, since the 1980s and 1990s. As such, light has become a key subject in its own right in Zhang’s practice.
Zhang Xiaogang, Light No. 9, 2022
Zhang Xiaogang is a contemporary Chinese symbolist and surrealist painter. Paintings in his Bloodline series are predominantly monochromatic, stylized portraits of Chinese people, usually with large, dark-pupiled eyes, posed in a stiff manner deliberately reminiscent of family portraits from the 1950s and 1960s.
Sotheby’s (May 3, 2023) – ‘Jardin devant le Mas Debray’ captures this pivotal moment in summer of 1887 where color, subject and paint handling crystallized into Van Gogh’s mature style, one that would flourish in the three years remaining of his life in Paris, Arles, Saint-Rémy-de-Provence and Auvers-sur-Oise.
It was during this period of time, from 1887 to 1890, that Van Gogh’s greatest masterpieces were created, forever changing in the history of modern art. Surrounded by artists, dancers, musicians, actors and writers in Montmartre, Van Gogh abandoned the dark palette that dominated many of his early paintings in Holland and replaced it with a newfound love of color.
Times Literary Supplement @TheTLS (May 5, 2023) – This week’s @TheTLS features Bruno Schulz – a writer from another Europe; Patrick O’Brian’s bleak vision; Vermeer – a great but flawed exhibition; extreme fandom and Derek Parfit, eccentric genius.
How Bruno Schulz found freedom on the periphery of life By Boris Dralyuk
It’s more than a little discomfiting to read the great Polish novelist Witold Gombrowicz’s description, in his diary from the early 1960s, of his not-quite-friend Bruno Schulz: “A tiny gnome with enormous head, appearing too scared to dare exist, he was rejected by life and slouched along its peripheries”. Written for publication two decades after Schulz was gunned down by a Nazi just outside the ghetto of his occupied native town of Drohobych in November 1942, these words cannot help but seem impious.
News, Views and Reviews For The Intellectually Curious
ArtReview (May 2023 Issue) – Featuring Frida Orupabo, Isaac Julien, Sarah Pierce, Kahlil Robert Irving and Christina Quarles; columns on faltering art markets and questions of what art should do for a society; and much more
Boomers Daily 