“The days of the week became moods,” observes the French artist, whose largest show ever is now open at Paris’s Palais de Tokyo. On the anthropology of eBay and the true meaning of Throwback Thursday
with Jason Farago
A Society of Gentlemen
by Huw Lemmey
Until 1967, sex between British men was a crime. Fifty years on, London’s museums are gayer than springtime — but the stories they recount are missing a few pieces
by Jacob Dreyer
Not since the 1930s has a Nobel laureate died in custody. Liu Xiaobo poses a question urgent far beyond China: how much can you tolerate, when must you say no?
House of Treasures
by Max Nelson
Wonderstruck, Todd Haynes’s kid-friendly new film, rambles through the Natural History Museum. As in all his melodramas, everything hinges on the rules of display
From Issue 8
The Season Finale
by Kyle Chayka
“What to make, then, of the new Four Seasons, scrubbed clean after a $33 million renovation and rechristened as two separate restaurants, The Grill and The Pool? I started a recent evening there in the Pool, where a new bar has been carved out of a former private room and a captain in a dramatic white Tom Ford dinner jacket clucked over its few guests. The post-restoration vibe here is decidedly Seaworld.”
The Old Curiosity Shop
by Lauren Elkin
“In my first Paris years, I kept noticing a particular kind of French store that seemed to thrive on selling tchotchkes: salad servers with manga characters on them, sponge-holders shaped like beagles. Colette is a more upscale version of these shops — and, in its commitment to selling people cutesy bits of ephemera they don’t need, Colette belongs to the great French tradition of the magasin de nouveautés.”
Within a Budding Grove
by Emil Leth Meilvang
“The direct integration of scientists in a museum can’t avert the fact that uncritical appraisal of biology, physics, and newer disciplines depends on a major cultural asymmetry. After all, we in the art world can get away with a hazy understanding of gene splicing or geoengineering — but can you imagine how quickly our doors would slam shut if a scientist thought she could curate a biennial or rehang a collection?”
Counsel for the
Walker Art Center, Minneapolis
From October 12
Before Britain slammed the door on Europe, this wacky Frenchwoman won a well-deserved Turner Prize for her cluttered installations that explore family mysteries and secret desires. Like so many, Prouvost has now left London, and the now-Antwerp-based artist is producing a new work for the Walker that spans video and theater and makes heavy use of her inimitable Franglais narration.
Famous Artists From Chicago, 1965–1985
Fondazione Prada, Milan
From October 20
One of our favorite museums is devoting its fall season to the brazen, madcap postwar painting of America’s second city, which embraced cartoonish graphics just as New York haughtily declared the form uncool. This is one of three Chicago shows at Fondazione Prada; there will also be solo exhibitions of the sculptor H.C. Westermann and of Leon Golub, among the fiercest of political painters.
Pinakothek der Moderne, Munich
From October 26
The dauntingly prolific Japanese photographer has been shooting flowers, city streets, and especially portraits of women, often topless but rarely fully nude, and usually restrained via a baroque knotting technique known as kinbaku-bi, or “the beauty of tight binding.” Where Mapplethorpe was impersonal, Araki is forever present in his photographs, shot with a handheld camera and freighted with pleasure and shame.
The Arrival of New Women
National Museum of Modern and Contemporary Art, Seoul
From October 27
First the Japanese took over, then the Americans; few rich countries, therefore, have as troubled a relationship with the coming of modernity as South Korea. This intriguing show looks particularly at how women fared before the peninsular war, via fashion magazines, imagery of workers and mothers, and painted portraits inspired by western examples.
From Issue 8
The Other Side of the Tracks
An interview from issue 8
“The Getty Villa is paradise, but it’s also utterly fake. When I came to California, none of the materials that I would find on the side of the road were anything but garbage, really. Performance became a way to invest those objects with a history.”