Plus: the uncertain market for Old Masters, the Cambridge colleges that have turned to wood, the artists who have taken young women seriously, and reviews of Guido Reni, Edward Hopper and the new museum at the Bibliothèque nationale
January 27, 2023: This week: as robotic figures of the Japanese artist Yayoi Kusama appear in windows of Louis Vuitton stores in New York, London and Tokyo, Ben Luke talks to Federica Carlotto, a specialist in art and luxury, about the latest collaboration between Kusama and the LVMH brand.
What does it tell us about what the former creative director of Louis Vuitton, Marc Jacobs, called the “monumental marriage between art and commerce”? Also this week, the artist Michael Rakowitz hopes to give a public sculpture he made for Trafalgar Square in London to Tate Modern and an Iraqi institution. He explains how it prompted Iraq to request the return of one of the lamassu, the ancient Assyrian sculptures that inspired Rakowitz’s work, from the British Museum to its country of origin.
And this episode’s Work of the Week is I didn’t put myself down for sainthood (2018), a piece made by Rosy Martin in collaboration with Verity Welstead. The photographic ensemble is in the opening displays of the new Centre of British Photography in London. We speak to James Hyman, the art dealer, collector and co-founder of the centre, about the work.
You can hear our interview with Michael Rakowitz when he unveiled the sculpture in Trafalgar Square in the episode from 22 March 2018 and an in-depth conversation with Michael in the episode of the A brush with… podcast from 9 June 2021.Headstrong: Women and Empowerment, Centre for British Photography, London, until 23 April.
Victoria and Albert Museum (January 24, 2023) – Moulin Rouge! The Musical is a spectacle of romance and cabaret, set in the heart of Paris’ bohemian scene during the Belle Époque era. Bringing Baz Luhrmann’s landmark film to life on stage, the production is a musical mash-up extravaganza, immersing you in a world of splendour and glory.
Video timeline:00:00 Catherine Zuber’s design process 0:29 What is Moulin Rouge! The Musical? 00:49 Was the Moulin Rouge real? 01:05 Adapting Baz Luhrmann’s film 01:23 Creating a costume for Satine – design sketches 02:17 Researching the history of showgirls 02:49 How does the costume work? 03:53 Designing costumes for theatre 04:12 Mounting and installing the costume in the Re:Imagining Musicals display
Join Costume Designer Catherine Zuber and Curator Harriet Reed as they take us behind the scenes, introducing the real Moulin Rouge and showgirls of the time, showing the original design sketches for Satine’s dazzling diamond studded costume, and demonstrating how one vital mechanism is crucial for the piece’s quick change on stage.
The costume is now in the V&A’s collection of Theatre and Performance and can be seen as part of the Re:Imagining Musicals display until November 2023.
CBS Sunday Morning – Preston Singletary, a member of the Tlingit tribe of Alaska and the Pacific Northwest, uses a very untraditional medium when fashioning indigenous art: glass.
He talks with correspondent Lilia Luciano about his traveling exhibition, “Raven and the Box of Daylight” (now at the Museum of the American Indian in Washington, D.C.), which tells a Native American folktale about the origins of the world entirely through glass.
The story Raven and the Box of Daylight, which tells how Raven transformed the world and brought light to the people by releasing the stars, moon, and sun, holds great significance to the Tlingit people of the North Pacific Coast. A new body of work by artist Preston Singletary immerses readers in Tlingit traditions by telling this story through his monumental glass works and installations. Primarily known for his celebration of Tlingit art and design, Singletary explores new ways of working with glass inspired by Tlingit design principles. This book includes texts that place Singletary’s work within the histories of both glass art and Native arts traditions—especially the art of spoken-word storytelling. Also included are a biography and an interview with the artist. Co-authored by Miranda Belarde-Lewis and John Drury.
January 13, 2023: In the first episode of the year, we look ahead at the next 12 months. Anny Shaw, the acting art market editor at The Art Newspaper, peers into her crystal ball and tries to predict the fortunes of the art market this year.
Then, Jane Morris, one of our editors-at-large, José da Silva, our exhibitions editor, and host Ben Luke select the museum projects, biennales and exhibitions that they are most looking forward to in 2023.Events discussed:
The Grand Egyptian Museum: no confirmed opening date.
\The National Portrait Gallery reopens on 22 June.
Factory International, Manchester, also opens in June.
Yayoi Kusama’s You Me and the Balloons opens there on 29 June, as does the Manchester International Festival.
The Sharjah Biennial: Thinking Historically in the Present opens on 7 February.
The Gwangju Biennial: Soft and Weak Like Water opens on 7 April.
Celebration Picasso 1973-2023
Vermeer opens at the Rijksmuseum, Amsterdam, on 10 February.
Art In America (January 2023) – Published annually, the Art in America Guide to Museums, Galleries, and Artists is the most comprehensive national printed directory of galleries, artists, dealers, consultants, museums, and nonprofit spaces available. With detailed information on almost 3,000 art venues and businesses in the United States, the Guide is an essential resource for the art world.
The A.i.A. Guide was first published in 1982, making the current issue our 40th annual edition of this much-loved art world publication.
The A.i.A. Guide’s digital counterpart, launched in May 2017, provides listings searchable by city, state, category, and artist’s name; recommendations for shows to see from Art in America editors, as well as from respected curators, art writers, and artists; and highlights from Art in America’s print issues. Find out what’s on view near you. Discover important new artists and venues. And see why Art in America has been the world’s premier art magazine for over 100 years.
Please contact Kristie Nilsson, Art in America Guide Manager, for more information: email@example.com | (212) 398-1690 x62104
Matisse in the 1930s features a collection of the legendary artist’s work during a decade of artistic exploration—from experimentation, to failure, to renewal—with Philadelphia as a backdrop.
By 1930, Henri Matisse had achieved significant international renown, yet he found himself in a deep creative slump. The turning point came with a commission to decorate the main gallery of the Barnes Foundation in Philadelphia. The resulting monumental mural, The Dance (1930–33), turned Matisse’s artistic practice around.
In the January/February issue of frieze, Terence Trouillot profiles artist Henry Taylor ahead of shows at The Fabric Workshop and Museum, Philadelphia, and The Museum of Contemporary Art, Los Angeles. Plus, one year after Russia declared war on Ukraine, artists and writer respond to the crisis in a dossier, including: a personal essay by painter and writer Kateryna Aliinyk; Adam Mazur profiles Taras Gembik, an artist and performer organising picnics to raise money for Ukraine in Warsaw, Poland; Nikita Kadan on what art can mean in a time of war; editor-in-chief Andrew Durbin interviews Olha Honchar, the director of Territory of Terror Museum, which documents war crimes, and the coordinator for the Museum Crisis Center, an organization helping Ukrainian museums rescue their holdings from occupied zones.
Profile: Henry Taylor “I became the observer because I was trying to understand my own life and that’s why I started making pictures. I just like looking at people.” Terence Trouillot considers how Henry Taylors oeuvre goes far beyond the canvas.
PBS NewsHour – Artificial intelligence, robotics and gene sequencing are the stuff of headlines, science fiction and sometimes even our worst fears. It’s all on view at the new MIT Museum. A place where the latest scientific advancements fill galleries, but only really work with your input. Special correspondent Jared Bowen of GBH Boston looks at this artistic frontier for our arts and culture series, “CANVAS.”
From AI in the home to robots in the workplace, the presence of AI all around us compels us to question its potential and recognize the risks. What has become clear is that the more we advance AI technology and consider machine ability versus human ability, the more we need to mind the gap.