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.
The Burlington Magazine – January 3, 2024:The new issue features ‘The Golden Age of Avignon’ – Avignon as ‘New Rome’; Rubens and women; Tiepolo in New York; Gertrude Stein and Picasso, and more….
A vivid photograph of a lotus pond ushers visitors into this ambitious exhibition on the arts and culture of Jiangnan. Lying to the south of the Yangtze – its name literally means ‘south of the river’ – this part of China includes such major cities as Shanghai, Hangzhou and Suzhou. Curated by Clarissa von Spee, Chair of Asian Art and the James and Donna Reid Curator of Chinese Art at the Cleveland Museum of Art (CMA), this is the first exhibition outside China to present an encyclopaedic view of the cultural history of this historically affluent region.
Ever since the Walpole Society was founded in London in 1911 ‘with the object of promoting the study of the history of British art’, The Burlington Magazine has taken a close interest in an organisation with aims and principles so close to our own: this is the sixth Editorial we have devoted to the subject. The first, written by the art historian August F. Jaccaci, who edited the Magazine’s ‘Art in America’ section, appeared in 1913 on the occasion of the publication of the first of the annual volumes that are the society’s raison d’être.
Times Literary Supplement (December 20, 2023): The latest issue features ‘A nice little earner’ – On Dicken’s Christmas Carol; Jane Austen’s Truth Universally Acknowledged; Between God and Jingle Bells; and ‘Revoltingly Cute’…
Times Literary Supplement (December 13, 2023): The latest issue features ‘Innocent bystanders? – Collaboration with the Third Reich; The contaminated blood scandal; Gertrude Stein and Picasso, Hamlet’s play; AI Journalism and Clarice Lispector calls…
Gagosian Quarterly (Winter 2023) – The new issue features Annie Cohen-Solal who writes about the exhibition A Foreigner Called Picasso, at Gagosian, New York, detailing the genesis of the project, her commitment to the figure of the outsider, and Picasso’s enduring relevance to matters geopolitical and sociological. Connecting the dots among the Surrealist milieu, including Picasso, a conversation on the underrecognized photographer Lee Miller sets the stage for a New York show about her work, friendships, and collaborations with fellow artists.
Cocurator of the exhibition A Foreigner Called Picasso, at Gagosian, New York, Annie Cohen-Solal writes about the genesis of the project, her commitment to the figure of the outsider, and Picasso’s enduring relevance to matters geopolitical and sociological.
By Annie Cohen-Solal
I have been interested in the issue of immigration ever since I entered the art world. I began my career as an intellectual historian: I was a scholar of Jean-Paul Sartre and wrote his first biography. It was quite unexpected that I would fall into the orbit of the art world, let alone so fast, but two days after I arrived in New York City, in 1989—I had just been nominated cultural counselor to the French Embassy in the United States—I met Leo Castelli at a dinner. Out of the blue, Leo told me, “You don’t look like your predecessors.” (I was the first woman in the position.) “You’ll take New York city by storm and I’ll teach you American art. Come to the gallery tomorrow, I have a show with Roy [Lichtenstein]. Come for the opening and stay for the dinner.”
The American Surrealist photographer Lee Miller is the subject of the exhibition Seeing Is Believing at Gagosian, New York. Here we present a conversation on the stewardship of Miller’s legacy, her photography and writing from the frontlines of war to the pages of Vogue, and the intertwined lives of her friends, lovers, and the many artists she knew.
Gagosian is pleased to present A Foreigner Called Picasso at its West 21st Street gallery in New York. The exhibition is curated by the eminent writer, biographer, and historian Annie Cohen-Solal together with art historian Vérane Tasseau. It is organized in association with the Musée national Picasso–Paris and the Palais de la Porte Dorée–Musée national de l’histoire de l’immigration, Paris.
Spanning the entirety of Pablo Picasso’s career in France from 1900 through 1973, the exhibition will feature loans of important works from private and public collections in the United States and Europe. It includes early self-portraits lent by the Museum of Modern Art and the Metropolitan Museum of Art in New York, as well as Cubist and Surrealist masterpieces from the Philadelphia Museum of Art and Fondation Beyeler, Riehen/Basel. The iconic sculpture Head of Fernande (1909) will be displayed, as will Man with a Lamb (1943)—Picasso’s forceful response to the aesthetics of Arno Breker (Adolf Hitler’s favorite artist), who exhibited in occupied Paris.
Apollo Magazine– November 2023: The new issue features Modern art at the Imperial War Museum; Around the world in thousands of textiles; Tashkent bets big on cultural tourism, and more…
The New York Review of Books (November 2, 2023) – The latest features the 60th Anniversary Issue— with Pankaj Mishra on writing in the face of fascism, Lucy Sante on the kaleidoscopic Blaise Cendrars, Fintan O’Toole on the battles over wokeness, Deborah Eisenberg on the enchantments of Elsa Morante, Timothy Garton Ash on the dream of a free Europe, Simon Callow on vertiginous Mozart, Jed Perl on the Warholization of Picasso, Marilynne Robinson on Iowa’s tattered ideals, Catherine Nicholson on Shakespeare’s First Folio, Susan Faludi on abortion in the nineteenth century, Martha Nussbaum on the rights of whales, poems by Anne Carson and Ishion Hutchinson, and much more.
Uwe Wittstock’s new account of writers considering whether to flee or to remain in Germany during Hitler’s rise to power sheds light on the choices faced by many writers in India and Russia today.
by Uwe Wittstock, translated from the German by Daniel Bowles
“It will have become clear to you now,” Joseph Roth wrote to Stefan Zweig in mid-February 1933, “that we are heading for a great catastrophe.” Two weeks previously, on January 30, Germany’s eighty-five-year-old president, Paul von Hindenburg, had appointed as chancellor a man who for more than a decade had spoken and written frankly about his resolve to extirpate democracy and Jews from the country. Roth, who left Berlin the same morning Adolf Hitler came to power and never returned to Germany, was desperate to make his complacent friend recognize the perils before them.
Biographies of composers are a relatively recent genre; those of Mozart were among the first examples.Though his life was not as sensational as that of Gesualdo, for example, who murdered his wife, Mozart was, from his early years, an international celebrity whose very personality posed questions beyond the eternal riddle of creativity. How could a mere child—he started performing publicly on the clavichord at the age of six—be so astoundingly versatile? As he toured Europe, going from court to court and salon to salon with his father, Leopold, and his older sister, Maria Anna—a talented musician as well—the delightful little boy in his nattily embroidered outfits enchanted his listeners, readily obliging them with requests, however crass: now playing with the keys covered, now with only one finger, to delighted applause.
Apollo Magazine– October 2023: The new issue features Getting ruff and ready with Frans Hals; Sophie Calle takes on Picasso; Can museums cope without dodgy donors?, and more…
Inside this issue
News, Views and Reviews For The Intellectually Curious
Boomers Daily 