Six years ago German police entered a modest apartment and found more than a thousand works of art. What crimes, and whose stories, lie beneath the Gurlitt collection? A report from Bonn and Bern
by James McAuley
by Matthew J. Abrams
Egon Schiele, dead a hundred years ago this October, was a demigod to postwar rockers and punks. What is left of his bad manners in the age of Snapchat and sexting?
The Highland Reels
by Susannah Thompson
London is good enough for some, but the true British artistic powerhouse is Glasgow: restless, experimental, and proudly European. Too bad about those referenda
People of the Book
by Cody Delistraty
Michel Houellebecq envisioned a France whose politicians were so exhausted that a young upstart could break the system. He was almost right: it was Emmanuel Macron
From Issue 9
by Linda Besner
“Toronto’s Googlehood will deploy wall-to-wall sensors and cameras to capture the flow of pedestrian, bicycle, and vehicle traffic, as well as environmental measures like hyperlocal weather patterns, carbon monoxide levels, and noise pollution. This is the real, unstated master plan: to build an experimental city that is also a vast real-time data-harvesting center.”
The Body Politic
by Madison Mainwaring
“When Daniel Applebaum performed a pas de deux on the stage of the New York City Ballet at Lincoln Center last October, he broke from tradition when he lifted Taylor Stanley into the air. The reason: Stanley is a man. He had taken over a role in The Times Are Racing originally created for a woman.”
The Color of the Earth
by Kanishk Tharoor
“Though he admired Cartier-Bresson and other western contemporaries like William Gedney and Lee Friedlander, Raghubir Singh felt strongly that black-and-white was not suitable for photography in India. He shot in color, blessed with regular shipments of Kodachrome film from National Geographic.”
Counsel for the
Haus der Kunst, Munich
From February 2
In the first years of the AIDS epidemic, Smith’s fragile and deeply humanistic sculptures — of latex or papier-mâché, bronze or glass — gave a nearly holy radiance to the body even as it exposed its weaknesses. More recently, Smith has taken an interest in fairytales and mythical narratives, expressed sometimes in kitschy sculptures, more impressively in jacquard tapestries of bold originality.
Centre Georges Pompidou, Paris
From February 4
Even if you haven’t read A Little Life, Hanya Yanagihara’s alternately adored and reviled novel of love and abuse, you’ll remember the cover photograph: Hujar’s Orgasmic Man, in which a blond ephebe shuts his eyes in painful pleasure. The American photographer receives the full treatment in this retrospective, which tours afterwards to the Berkeley Art Museum.
Tate St. Ives
From February 10
What she accomplished in words — the fathoming of emotional, psychological, and transcendental depths in outwardly undistinguished lives — serves as the firestarter for “Virginia Woolf,” an intriguing show of more than 70 artists, all women, that will take over the bulk of the Tate’s newly expanded branch in rugged Cornwall.
From February 24
It became a radical stronghold under its young director Harald Szeemann, whose 1969 exhibition “When Attitudes Become Form” became such an international scandal that he had to resign his post. Now the Kunsthalle Bern is turning 100, and its first anniversary exhibition invites more than a dozen artists — Cosima von Bonin, Tom Burr, Park McArthur — to reexamine Szeemann’s enduring questions about sculpture and space.
From Issue 9
The Interpreter’s Tale
Interviews from Even
“There is an elementary relapse into nation states, into populism. But there is no other solution than the European community. There is no other solution.”
“I was wondering if we could create an archive that would trace the history of art institutions back to the beginning of the Turkish Republic. So we could see what affected what at the very beginning. Because if you don’t know the history you are doomed to fail again.”
“The art world was relatively clean then, though, because there was little to no money to be made. Minimalism hadn’t been all that expensive, or successful in the market. Many younger artists didn’t think about selling their stuff, or developing a brand. It was a paradise in that it was about the work; it was about the content; it was about striving to give.”