Egon Schiele, whose centenary is being celebrated at museums across the world, presents a unique lens through which to think about the line between art and exploitation.
Is it only within the context of romantic unrest that the best art can be made?
Should art be about depicting or creating an experience?
On the artist Gabriele Münter and freeing her from the shadow of Wassily Kandinsky.
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.
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.
A new Picasso exhibition, curated by one of his granddaughters, celebrates one of the only women he didn’t harm for his art: his daughter Maya.