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
Tate Modern, London
From March 14
Triumphant at the US pavilion in Venice three years ago, the pioneer of video art and multimedia at last gets a retrospective as big as her talent. This show will feature Jonas’s early performance with mirrors alongside her recent ecological fugues, and will stretch from the Tate’s principal galleries to the Tanks, the massive underground oil chambers that lie beneath the Switch House.
From March 16
This is the big one: a full-dress retrospective of an American original who used his own body, cast in wax or filmed in his claustrophobic studio, to expand the definition of sculpture and to map and measure a world. The show has been organized by Kathy Halbreich, MoMA’s outgoing associate director, and it migrates from Basel to New York in October.
21st Biennale of Sydney
Cockatoo Island and elsewhere, Sydney
From March 16
In the 20th century the biennial badly wanted to win the approbation of the US and Europe, but the landmark 2006 edition, titled “Zones of Contact,” repositioned Sydney as a global entrepôt in an Asian sphere of influence. This year, for the first time, the biennial has an Asian curator at the helm: Mami Kataoka, chief curator of the Mori Art Museum in Tokyo, who will bring 27 Asian artists to Australia.
Musée du Louvre, Paris
From March 29
The largest showcase in 50 years for the Romantic painter who bridges the gap between the revolutionary neoclassicism of David and the realism soon to come from Courbet and Manet. Delacroix lived long and shifted styles often, and alongside the Louvre’s own, miles-over-the-top Death of Sardanapalus, expect more than 180 works that jostle from careful landscapes to histrionic religious imagery.
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.”