On the artist Gabriele Münter and freeing her from the shadow of Wassily Kandinsky. Advertisements
For my new monthly column for The Paris Review, I will travel across Europe—from Copenhagen to Dublin to Berlin to London—searching out essential artworks and exhibitions that speak to a wider cultural context, such as our desire for wanderlust or the complexities of artistic romances. In this first segment, I explore the complicated burden placed upon the lovers, close friends, and heirs of famous artists after they die.
Contrasting approaches by two famous French cartoonists—Georges Wolinski and Plantu—show differing ways of poking fun at the powerful.
With President Macron poised to make changes to France’s handling of ethnographic art, the quai Branly would do well to follow suit—instead, they’re suspiciously dodging the issue.
On the link between insanity and creativity and how the art of turn-of-the-century mentally ill asylum patients became the basis of contemporary art, from Duchamp to Twombly to Cattelan.
On the allegations against the photorealist Chuck Close, the conflation of art and artist, and the nuances therein.
With 11 of her works on show at the Musée d’Orsay, one of the most underrated sculptors in modern European history is brought out from the shadows