Rediscovering a Conceptual Photographer Tseng Kwong Chi
e Louvre’s Couture Renaissance Fashion Meets Art
e Frick Returns A Cherished Museum Reopens
Cinematic Wonderland e Art of Wes Anderson
Icons of Elegance Ti any & Co. at Casa Cipriani
Reimagining Tradition
, Boston, newly reimagined Arts of Japan galleries, oer a vast collection spanning from the 7th century to today. e renovation has introduced ve distinct spaces, including the restored Japanese Buddhist Temple Room, originally opened in 1909 and now home to conserved sculptures like Dainichi, Buddha of In nite Illumination(1149). Designed to evoke an 8th-century monastic complex, the space fosters a meditative experience. e galleries showcase a diverse array of Japanese art, from paintings and ceramics to N masks, swords, and netsuke carvings. Highlights include Ogata Krinís Waves at Matsushima (18th century), an immersive tea room, and multimedia displays of N theater. e Japanese Print Gallery hosts rotating exhibitions, beginning with Reworking the Past, which pairs 19th-century ukiyo-e with contemporary prints. Home to the largest Japanese collection outside Japan, the MFAís transformation provides a fresh perspective on both traditional and modern Japanese art.
Cat Power Sings Dylan
, Cat Power delivered a mesmerizing performance at Londonís Royal Albert Hall, recreating one of the most iconic live sets in music history. e original 1966 concert, famously mislabeled as the ìRoyal Albert Hall Concert,î saw Bob Dylan boldly transition from acoustic to electric, sparking both outrage and awe from the audience. Cat Power, aka Chan Marshall, brought her own unique interpretation to the stage, infusing each song with conviction, elegance, and a deep aection. Her rendition transformed the tense, anarchic energy of Dylanís original performance into a warm, radiant celebration. Now, with the release of the live album Cat Power Sings Dylan: e 1966 Royal Albert Hall Concert, Marshallís captivating performance pays tribute to Dylanís enduring legacy while breathing new life into some of his most beloved songs.
The Motherload: A Candid Reckoning with Motherhood
as a seamless, joyous transformation, but for Sarah Hoover, it was anything but. In e Motherload, she dismantles this myth with raw honesty and dark humor, sharing her struggles with pregnancy, postpartum depression, and the unraveling of her carefully built life. A successful art historian, Hoover had cra ed a world she loved moving from Indiana to New York, building a career, and immersing herself in the cityís culture. But pregnancy shaered her sense of self. Her body felt foreign, relationships strained, and a er giving birth, she was consumed by anxiety, shame, and detachment from her son. Only by confronting postpartum depression did she begin to reclaim herself, challenging the impossible standards placed on mothers. e Motherload is a bold, deeply personal story of loss, love, and self-forgiveness an un ltered, o en hilarious take on the messy reality of motherhood.
Radical! Women Artists and Modernism 1910ñ1950
has long been told through a male-dominated lens. Radical! Women Artists and Modernism 1910ñ1950, opening at Lower Belvedere in Vienna this summer, seeks to rewrite that narrative. Showcasing over sixty artists from more than twenty countries, the exhibition highlights bold, boundary-pushing innovations that de ned a pivotal era. ese women forged new visual languages to capture a rapidly changing world responding to war, political shi s, and technological advancements with striking creativity. ey reimagined identity, challenged social norms, and infused daily life with radical Modernist aesthetics. Radical! restores these artists to history while expanding our understanding of Modernism itself.
Waves at Matsushima, 18th century Ogata KÙrin (Japanese, 1658-1716)
Six-panel folding screen; ink, color, and gold on paper Fenollosa-Weld Collection
í portraits have become some of the most iconic images in art history. With their bold colors and swirling, almost electric brushstrokes, his works are instantly recognizable, even to those who might not consider themselves experts in art. eyíre part of our collective visual language, o en reduced to symbols of ìVan Gogh-nessî in a world awash with his Starry Nights and Sun owers. But behind the artistís singular style and unmistakable signature lies a lesser-known truth: the stories of the people he painted, the relationships that informed his art, and the moments of intimacy that shaped these masterpieces.
e Roulin family Joseph, a postman; his wife, Augustine; and their three children, Armand, Camille, and Marcelle were not just subjects for Van Gogh. ey were neighbors, friends, and in many ways, a surrogate family during a pivotal and turbulent period in the artistís life. Van Goghís deep connection to the Roulins and his groundbreaking portraits of them are at the heart of Van Gogh: e Roulin Family Portraits, an extraordinary exhibition
that brings together around 20 of his works. Running now at the MFA and organized in partnership with the Van Gogh Museum in Amsterdam, the show unites paintings from Amsterdam, Paris, New York, and Chicago for the rst time, oering a rare opportunity to not only marvel at Van Goghís technique but to meet the Roulins themselves.
During his stay in Arles from 1888 to 1889, Van Gogh dreamed of creating a vibrant artistic community in the South of France. But as that vision faltered and his mental health declined, his relationship with the Roulin family became a crucial source of stability and solace. Joseph Roulin, with his bushy beard and unwavering kindness, emerged as a constant presence in Van Goghís life. In Postman Joseph Roulin (1888), now part of the MFAís collection, Van Gogh captured his friend with a combination of dignity and aection. Similarly, Lullaby: Madame Augustine Roulin Rocking a Cradle (La Berceuse) (1889) oers a tender glimpse of Augustine, seen as both an ar-
Camille Roulin, NovemberñDecember 1888
Vincent van Gogh (Dutch (worked in France), 1853ñ1890)
Oil on canvas
Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation)
Courtesy Museum of Fine Arts, Boston
chetype of maternal care and an individual imbued with strength and warmth.
ough these portraits are instantly recognizable as Van Goghs, the stories of the Roulins themselves o en fade into the background. e same is true for many of Van Goghís works. We know them by sight the brushstrokes, the colors, the unrepeatable energy but how o en do we consider the lives behind the faces? e exhibition seeks to change that, oering not only paintings but leers wrien by Joseph Roulin and additional context about Van Goghís creative process and emotional state during this time. By exploring the artistís bond with the family, the exhibition brings these familiar faces to life, allowing visitors to see not just the paintings but the people behind them.
e Roulin portraits are also a window into Van Goghís artistic in uences and ambitions. His admiration for Japanese woodblock prints is evident in the at planes of color and bold outlines that dene his style, and the earthy realism of earlier Dutch masters informed his approach to capturing the Roulinsí quiet dignity. ese
The Postman Joseph Roulin, 1889 Vincent van Gogh (Dutch (worked in France), 1853ñ1890), Oil on canvas
The Museum of Modern Art, New York, Gift of Mr. and Mrs. William A. M. Burden, Mr. and Mrs. Paul Rosenberg, Nelson A. Rockefeller, Mr. and Mrs. Armand P. Bartos, The Sidney and Harriet Janis Collection, Mr. and Mrs. Werner E. Josten, and Loula D. Lasker Bequest (all by exchange), 1989
inspirations are explored in the exhibition through carefully curated works that trace Van Goghís creative lineage, revealing how he transformed these in uences into something entirely his own.
Van Goghís relationship with the Roulins took on a poignant signi cance given his personal circumstances. Despite longing for a family of his own, he never married or had children. Instead, he found comfort in the warmth of the Roulin household, and his portraits re ect that intimacy. e bond he shared with the family is palpable, resonating across time as a testament to the universality of chosen connections. As Laurence Kanter, curator of the exhibition, observed, ì e Roulins were not just his sub-
jects they were his lifeline.î
e exhibition also highlights Van Goghís aspirations for a broader community of artists in Arles, a dream that brie y materialized with the arrival of Paul Gauguin. Gauguinís in uence is evident in the work Van Gogh produced during this period, and the exhibition includes key pieces from Gauguin to illustrate the creative crosscurrents between the two artists. eir collaboration, though short-lived and tumultuous, le an indelible mark on Van Goghís art.
Van Gogh: e Roulin Family Portraits oers more than a chance to admire Van Goghís singular talent it invites viewers to step into the world of the Roulins, to
see them not as historical footnotes but as living, breathing people who meant the world to the artist. e exhibition pairs the immediacy of Van Goghís visual language with the depth of his personal relationships, creating an experience that is as emotional as it is artistic.
is exhibition is not just an exploration of Van Goghís artistic achievement; itís a celebration of the connections that de ne us. rough these portraits, Van Gogh reminds us that art is more than an image on a canvas itís a bridge between the artist, the subject, and the viewer, spanning time, place, and circumstance. In seeing the Roulins through Van Goghís eyes, we gain a deeper understanding of both the artist and ourselves.
Lullaby: Madame Augustine Roulin Rocking a Cradle (La Berceuse), 1889 Vincent van Gogh (Dutch (worked in France), 1853ñ1890) Oil on canvas
Armand Roulin, 1888 Vincent van Gogh (Dutch (worked in France), 1853ñ1890), Oil on canvas Collection Museum Boijmans Van Beuningen, Rotterdam.
Acquired with the collection of D.G. Van Beuningen Courtesy Museum of Fine Arts, Boston
, and at rst glance, it is: an artist and a gallerist visit a series of museums together. e gallerist is Tony Shafrazi, and the artist, Brandon Deener. But to truly grasp the signi cance of their journey, one must consider Shafraziís concept of ìVectors.î To even approach the near-impossible task of fully understanding a work of art, literature, lm, artist, or even an idea, one must account for the many vectors that in uenced its creation. ese might include other lms, books, or paintings that existed at the time, as well as the socioeconomic and political climate that shaped the moment of creation.
Contemplating all these factors is a Herculean task but this very way of seeing has been foundational to Shafrazi from the earliest days of his career. It has given him an uncanny ability to always be in the right place, at the right time, with the right people. And it is precisely this perspective that makes Shafraziís decision to champion Deener so fascinating, not just for what it reveals about the artist but for what it tells us about Shafrazi himself.
For over ve decades, Shafrazi has been a xture of the art world, his career punctuated by bold moves and a sharp eye for talent. He was among the rst to introduce the world to the rebellious brilliance of Keith Haring and Jean-Michel Basquiat and the force behind groundbreaking exhibitions that rede ned art markets. His life
is marked by a keen ability to identify and cultivate creative voices that challenge conventions, making his collaboration with Deener not only signi cant but inevitable.
Deenerís debut international exhibition, Resonance, recently on display at Galerie 75 Faubourg in Paris, was presented by Tony Shafrazi / Gallery Without Walls and Doriano Navarra / Galerie Enrico Navarra as his rst solo exhibition in the city, featuring 15 large-scale oil paintings that exemplify the kind of raw, transformative talent Shafrazi has always championed. Born from Deenerís remarkable journey from music producer to visual artist, the exhibition represents a fusion of pain, resilience, and inspiration. For Deener, art became a lifeline following a period of profound personal loss. What began as a channel for grief evolved into a practice of faith and discovery, culminating in a body of work that bridges the visual and auditory worlds.
Jazz, a cornerstone of Deenerís creative ethos, runs like a heartbeat through Resonance. e improvisa-
Tony Shafrazi poses next to the broken front window of his gallery (163 Mercer Street), New York, New York, October 16, 1981. (Photo by Allan Tannenbaum/ courtesy of Tony Shafrazi)
Below: Brandon Deener in front
Soprano and Tenor, 2024
Acrylic wash, acrylic, spray paint, pigment stick, and oil on canvas / Lavis d’acrylique, acrylique, peinture aérosol, crayon gras et hulle sur toile
x 121,9 cm
tional spirit of jazz shapes Deenerís process, as he begins each painting with a spark of inspiration and lets it evolve organically. His works, like Sketches of Miles and Soprano and Tenor, re ect the dynamism and vibrancy of the music that inspires them. A hyper-realistic portrait of Miles Davis captures the intensity of the musicianís presence, while his ode to John Coltrane balances gra ti textures with a lyrical uidity reminiscent of a saxophone solo.
For Shafrazi, the parallels between jazz and painting were a natural t for Deenerís artistic journey. Comparing Deenerís method to a jazz ri, Shafrazi notes, ìPlayers create an inspired melodic tune that comes from the particular nature of their instruments, and the sounds that they come up with, totally new, become the signature
Gummy Kisses, 2015 Acrylic on canvas / Acrylique sur toile
50,8 x 50,8 cm
Statuesque, 2024 Gesso, oil, and
identity of a new star being born.î
ìI think the biggest thing that Iím trying to do with my work is to just create space for Black people to just be, without explanation.î
Brandon Deener
But Deenerís journey isnít just about creation; itís also about education. In the summer of 2023, Shafrazi organized a transformative trip across London and Paris for Deener, his partner India, and lmmaker Nico Ballesteros. For an artist without formal training in art history, the journey exposed Deener to the monumental works and cultural landmarks that have shaped Western art. is immersion into the canon became a turning point, broadening his artistic horizons and deepening his practice.
Upwards,
ìA er the trip, [Deener] came away with a greater vision of history, a greater vision of life, and a greater conception of what [his] art could address,î Shafrazi observed. e result is a body of work that feels both deeply personal and broadly universal. rough Resonance, Deener pushes the boundaries of Afrofuturism, reclaiming and reimagining cultural icons with a style that marries meticulous detail with bold expression. Each painting hums with the energy of improvisation, yet remains rmly rooted in a tradition that celebrates innovation.
Resonance isnít just an exhibition; itís a reection of the shared vision between an artist and a gallerist. For Shafrazi, it represents another chapter in his lifelong mission to nurture bold, boundary-pushing talent. For Deener, itís an invitation to engage with the world through the universal language of art and music. And for those who stand before his canvases, itís a reminder that, in the silence, there is always a rhythm waiting to be heard.
ìIím really inspired by the idea of Sankofa, which is a West A ican concept that encourages us to go back and retrieve our past in order to move forward.î
Brandon Deener
managed to embed themselves in the cultural consciousness as profoundly as Lawrence Schiller. Known as much for his unfaltering eye as for his uncanny knack for being in the right place at the right time, Schiller became a de ning chronicler of the 1960s, a decade brimming with transformation, rebellion, and iconoclasm.
Schillerís photographs feel less like static images and more like portals into the zeitgeist of an era. From his searing portraits of cultural icons like Marilyn Monroe and Robert F. Kennedy to his documentation of watershed moments in history, his lens bore witness to the shi ing sands of American identity and ambition. ìTo me, the camera was a license to ask questions,î Schiller once said. ìAnd I never stopped asking.î
Schillerís portfolio reads like a compendium of the 20th centuryís most signi cant personalities. ereís Marilyn Monroe, lounging by the pool during the lming of Somethingís Got to Give, her image radiating both the mystique and fragility that have cemented her legacy. ereís Robert F. Kennedy, mid-campaign, embodying the hope and tragedy of a nation on the cusp of upheaval. And then there are the photographs of Muhammad Ali, whose
sts and convictions would shake the world, captured with the reverence of someone who understood he wasnít just shooting a boxer but a legend in the making.
But Schillerís work wasnít limited to luminaries. He was on the ground during some of the most pivotal cultural shi s in American history the Was riots, the trial of Lee Harvey Oswaldís killer, Jack Ruby, and the Apollo space missions. His images of these events do not merely document; they distill. ey serve as visual shorthand for the complexities of the era its conicts, aspirations, and contradictions.
Born in Brooklyn in 1936 and raised in San Diego, Schillerís beginnings as a self-taught photographer hint at his lifelong commitment to instinct over arti ce. His early assignments for Life, Time, and Paris Match quickly set him apart as a photographer who didnít just shoot what he
saw but what others failed to notice. at ethos carried over into his collaborations with Norman Mailer, including the seminal book Marilyn: A Biography. Schillerís recollections of Monroeís nal months, paired with his haunting photographs of her, add an intimate layer to her endlessly dissected mythology.
Beyond photography, Schillerís career sprawled into lmmaking and publishing, proving his ability to adapt his storytelling instincts across mediums. He co-directed documentaries, including e American Dreamer, and brought his keen visual sensibility to collaborations with major Hollywood studios. Yet even as he shi ed focus, his photographs remained a central touchstone of his creative legacy.
In a world saturated with imagery, Schillerís photographs remind us of the power of being truly present of understanding that the photograph isnít just about whatís in the frame but the cultural, emotional, and political ripples beyond it. He wasnít merely documenting the 1960s; he was helping to shape how we would come to remember them. As Schiller himself has said, ìA good photograph is not just about what you see, but how it makes you feel about what youíve seen.î
Tippi Hedren and Alfred Hitchcock on the 101 freeway in Los Angeles during the filming of The Birds
and borrowed spaces, where walls pulsed with oil-drenched projections and music existed without a clear beginning or end. e Grateful Dead werenít yet the Grateful Dead they were simply a band playing to an audience that wasnít just watching, but dissolving into the experience. ese were Ken Keseyís Acid Tests, the earliest experiments in live music as total immersion, where sound, color, and movement blurred into something beyond entertainment. ey werenít just concerts. ey were portals.
e Acid Tests were a series of gatherings held by author and countercultural icon Ken Kesey and his Merry Pranksters in the mid-1960s, designed to explore the mind-expanding e ects of LSD through a fusion of music, visual art, and spontaneous performance. More than just a party, the Acid Tests were an experiment in perception, an a empt to dissolve the barriers between performer and audience, between sound and vision, between the self and the collective. e Grateful Dead then a edgling group still nding its sound became the house band for these events, providing a live soundtrack to an environment where reality itself seemed to bend and blur. ìSuddenly they were plugged into a whole other reality,î wrote Tom Wolfe in e Electric Kool-Aid Acid Test. ìIt was not just electricity they were playing with but the very fabric of the senses, of perception itself.î
e Dead learned in real time how to play to the chaos, stretching their songs into uncharted space, responding not just to each other but to the energy of the room, the swirl of color and light, the shiing collective consciousness of the crowd. It was music as an ecosystem, a living thing shaped by the environment around it.
at idea music as something alive, something that could only fully exist in the moment would dene
the band for the rest of their career. While the record industry focused on capturing music in its nal form, the Dead saw the live experience as the only version that truly ma ered. Songs were never played the same way twice. No two nights were alike. e show was something bigger than just the musicians on stage; it was an interplay between sound, space, and audience, a continuous, evolving collaboration between the band and those who came to listen.
It was an approach that would become legend, giving rise to the culture of tapers, the sharing of bootlegs, the endless debate over the best versions of ìDark Star.î e Dead werenít just performing they were building a model for what live music could be: a fully immersive, deeply communal experience where the moment itself was the art. Over time, that vision expanded beyond music. e shows became sensory landscapes, with lighting and visual production evolving in tandem with the music, transforming arenas and stadiums into places where time and reality felt elastic.
Today, that instinct for immersion has reshaped the way we experience entertainment. Nowhere is that clearer than at e Sphere in Las Vegas, where Dead & Company have found the most complete realization of the Acid Test dream. e Sphere isnít just a venue itís a full sensory world, a seamless 16K LED screen that envelops the audience in stunning, hyperreal imagery. ìIf the Acid Tests had the tools we have now, theyíd have built e Sphere,î said music historian Jesse Jarnow. ì is is what they were reaching for total, mind-expanding immersion.î Inside, planets orbit overhead in perfect synchrony with the music, fractals expand and dissolve, and color bursts into motion in ways that defy expectation. It is the full-circle realization of those rst Acid Tests, where the
dream of total immersion was rst imagined but never fully realized until now.
Even from the outside, e Sphere pulses with a hypnotic presence. Its massive curved surface glows with surreal, high-denition imagery that can be seen for miles. ìIt doesnít just project visuals it radiates them,î said critic David Fricke. ìItís the ultimate version of the Deadís idea that a show isnít just what happens on stage it extends outward, into the city, into the culture itself.î Itís an extension of the Deadís long-held belief that music doesnít have to exist within xed boundaries that the experience can wrap around everyone, inside and out.
For decades, the Dead have been at the center of a movement that reshaped how live music is experienced. eir inuence can be seen in the rise of visual storytelling at concerts, in the way lighting and production have become as essential as the sound itself, in the push toward environments that are not just backdrops but active, evolving spaces. e Acid Tests were never meant to be one-night experiments. ey were blueprints for something bigger, for a way of seeing performance as something limitless, something immersive, something alive.
At e Sphere, that vision is fully realized. e Grateful Deadís music has always been about movement songs stretching and shiing, no two versions ever played the same way twice. Now, the experience itself mirrors that same constant transformation. Inside, outside, above, below the show no longer exists in a single direction. It happens everywhere, all at once. ìWe always knew this was the goal,î Weir said. ìWe were just waiting for the world to catch up.î e trip they started in 1965 is still going, still expanding, still unfolding into something no one could have predicted. And maybe, just maybe, itís only ge ing started.
View, from behind, of American musician Bob Dylan as he plays acoustic guitar during a performance at the Newport Folk Festival, Newport, Rhode Island, July 1963. Audience members sit on the grass of the tennis court at the ivy-covered buildings of the Newport Casino (later the National, and then International, Tennis Hall of Fame). (Photo by Rowland Scherman/Getty Images)
Image courtesy of Searchlight Pictures
ì you have that you know something about yourself nobody else does. e picture you have in your own mind of what youíre about WILL COME TRUE. Itís a kind of a thing you kind of have to keep to your own self, because itís a fragile feeling, and you put it out there, then someone will kill it. Itís best to keep that all inside.î ese words, famously a ributed to Dylan, are rare windows into the enigmatic artistís psyche. He has spent decades speaking obliquely about his life, lyrics, and art when heís spoken at all. Fans, scholars, and admirers have obsessively dissected every line, gesture, and eeting comment, in search of some ìrosebudî moment that might crack the code of one of the 20th centuryís most inscrutable gures.
is relentless quest for meaning sets the stage for A Complete Unknown, director James Mangoldís ambitious new biopic about Dylanís early days. e lm, already with eight Oscar nominations, including Best Picture and Best Actor for TimothÈe Chalamet, dives into the swirling energy of the early 1960s a time when Dylan, barely out of his teens, arrived in New York City with
a borrowed name, a borrowed voice, and a hunger that would reshape American music forever.
Capturing such a seismic period required Mangold to do more than just tell Dylanís story it meant recreating the cultural moment he stepped into, a world in ux where folk music was both protest and tradition, and the stakes were as high as they were personal. For Mangold, who has earned a nomination for Best Director, the challenge lay in contextualizing not only the Greenwich Village folk scene but also Dylanís uncanny ability to both belong to it and stand apart. His ascent wasnít just about talent; it was about timing, instinct, and the quiet yet unmistakable conviction of someone who saw his destiny, even as he kept it hidden.
en thereís the monumental task handed to the cast, led by Chalamet in the role of Dylan. Dylan is no ordinary character to embody his voice, mannerisms, and even his silences are iconic. e actors portraying the constellation of gures in his orbit including Edward Norton as Pete Seeger and Monica Barbaro as Joan Baez, both of whom also received nominations faced similar chal-
lenges: how to step into the shoes of artists whose identities are larger than life without veering into caricature. Chalametís portrayal has been particularly anticipated, not just for his acting chops but for the sheer audacity of taking on a man whose very existence resists denition. Early glimpses and critical acclaim suggest a performance that captures the contradiction of Dylan: magnetic yet guarded, self-assured yet elusive, deeply inspired but never fully knowable.
A Complete Unknown isnít just a biopic itís a meditation on the mythmaking that surrounds Dylan, a man who once declared that he didnít ìlook backî but has spent a lifetime being analyzed through the rearview mirror. By exploring this pivotal time in Dylanís life, the lm invites viewers to step into his world while simultaneously acknowledging the impossibility of truly understanding him.
In doing so, Mangold and his cast have given fans not a denitive answer, but something more meaningful: a reminder that Dylanís allure lies in the very questions he leaves unanswered.
Joan Baez and Bob Dylan performing at the Newport Folk Festival at Freebody Park on Rhode Island, USA, 23rd-26th July 1964. (Photo by Gai Terrell/ Redferns/Getty Images)
í s recent exhibition on Francis Bacon is a visceral, un inching dive into the twisted world of one of the 20th centuryís most notorious painters. Bringing together over 50 works, including some of Baconís most iconic and rarely-seen pieces, this show has been a must-see for anyone fascinated by the darker corners of the human experience.
Baconís art is like nothing else. His contorted, elongated gures, screaming popes, and grotesque, eshlike bodies seem to writhe and twist on the canvas, as if
alive. Itís an art thatís both deeply unse ling and u erly compelling, like a magni cently horrible wreck that you canít look away from.
e exhibition was a journey through Baconís life and work, from his early, more tentative pieces to the bold, nightmarish visions of his later years. We see his fascination with the human body, distorted and inverted into impossible shapes, and his obsession with the works of Vel·zquez, whose portrait of Pope Innocent X Bacon reworked and reinterpreted in some of his most famous pieces.
ìBacon does not paint the horror of life, he simply shows life, which is horrifying.î Jean-Paul Sartre (philosopher)
Vel·zquezís portrait of Pope Innocent X, painted in 1650, is a masterpiece of Baroque art, renowned for its captivating and enigmatic depiction of the Pope. Many viewers who have taken in this image of the Pope are le with a sense of dread, horror and perhaps even a sense of menace. Bacon was deeply fascinated by this portrait, and his own versions of the Popeís screaming face are some of his most iconic works.
Baconís obsessive engagement with Vel·zquezís portrait led him to excavate the underlying emotions and anxieties that simmer beneath the surface of the painting. By reworking and reinterpreting the Popeís image, Bacon aimed to unleash the darker forces that he believed lay hidden beneath the veneer of civilized humanity. In doing so, he created a series of works that are both deeply person-
al and universally relatable, speaking to our own deepest fears and anxieties.
Baconís in uence extends far beyond the art world. Filmmaker David Lynch, for example, has cited Bacon as a major in uence on his work. Lynchís lms o en feature distorted, surreal landscapes and twisted, nightmarish creatures, echoing the sense of unease and discomfort found in Baconís paintings. Fashion designer Alexander McQueen was also deeply in uenced by Baconís work, incorporating elements of his twisted, organic forms into his designs. McQueenís runway shows o en featured models with distorted, elongated bodies, reminiscent of Baconís own contorted gures. is shared fascination with the darker side of the human condition highlights the enduring power of Baconís art to inspire and unsele.
NPG x13707, Francis Bacon, 1967 by J.S. Lewinski
The Lewinski Archive at Chatsworth / Bridgeman Images
ìBaconís paintings donít illustrate reality; they generate their own.î
Lucian Freud (painter and Baconís iend/rival)
As Bacon himself once said, ìIím not interested in illustrating my thoughts; Iím interested in producing a particular emotional state in the viewer.î
As art critic and curator, Robert Hughes, once noted, ìBaconís paintings are not just images, they are events. ey happen to you, and they happen in your mind.î
Similarly, artist and writer, John Berger, observed that ìBaconís paintings are a form of testimony, a testimony to the darkness that lies at the heart of human experience.î
When MariÎt Westermann stepped into her role as the Director and CEO of the Solomon R. Guggenheim Museum and Foundation, she didnít just make history she embraced it. As the rst woman to lead the institution in its entirety, Westermann follows in the footsteps of trailblazing visionaries who shaped the museum into a powerhouse of modern and contemporary art.
An acclaimed art historian and leader in cultural institutions, Westermann brings a global perspective honed through her work with the Andrew W. Mellon Foundation, New York University Abu Dhabi, and the Clark Art Institute. Her scholarship on Dutch and Flemish art has deepened the discourse on artistic movements of the past, but her gaze is rmly set on the future.
: As the rst woman appointed as Director and CEO of the Solomon R. Guggenheim Museum and Foundation, what unique perspectives do you bring to the role, and how do you plan to address the evolving challenges facing art institutions today?
In this exclusive interview, Westermann shares her vision for the Guggenheim: expanding inclusivity, harnessing technology, and ensuring that the museum remains a space where art challenges, inspires, and connects people across generations. From groundbreaking exhibitions on Mondrian and Orphism to the much-anticipated Guggenheim Abu Dhabi, she discusses how the institution is evolving while staying true to its DNA of innovation and bold artistic inquiry.
As the art world faces shi ing cultural landscapes and digital revolutions, Westermann is determined to keep the Guggenheim at the fore ont an enduring beacon of creativity in an ever-changing world.
: As the rst woman to lead the Guggenheim constellation in its entirety, I am grateful to the great women Hilla Rebay and Peggy Guggenheim who were driving forces in creating the Guggenheim as we understand and experience it today. As an art historian, I value the interplay of change and continuity that the Guggenheim embodies and represents, along with its commitment to inclusion, environmental sustainability, and access that is essential in todayís world. While the role of museums continues to evolve, my focus is on expanding the range of voices and perspectives we welcome and present. I would like us to leverage our digital and social tools be er to engage our global audience and ensure that the Guggenheim continues to deliver on its inspiring public mission to connect all kinds of people to great art
MariÎt Westermann, Director of the Solomon R. Guggenheim Museum and Foundation Photo: David Heald
Rendering of the Frank Gehry-designed Guggenheim Abu Dhabi. Courtesy: Gehry Partners, LLP
and each other in beautiful places. e museum is a space where art and artists can help us see and discuss contemporary issues such as climate change or belonging. I also am eager to make sure that the Guggenheim continues to push boundaries, supports innovative artists, and creates transformative experiences of art for generations to come.
: Tell us how the museumís current exhibitions on Orphism and Mondrian re ect your vision for the Guggenheimís future.
: e exhibition on Orphism in Paris, 1910-1930, a spectacular presentation in our iconic Rotunda designed by Frank Lloyd Wright, was planned long before I arrived, and I was thrilled that a quarter of the paintings and sculptures in it have been part of the Guggenheimís collection since its early development. Wright would have known them when designing the building. Our collection of great Modern art is our DNA and sets us apart, and one of my goals has been to show more of it than we have been able to do in recent years. By coincidence, during a visit to our storage facilities last summer, I discovered we had even more paintings and drawings by Piet Mondrian than I had known, including the two only original sketchbooks, and that we had never shown all of these works together. As Mondrian worked in a Dutch village, I lived in growing up, it felt serendipitous for me to curate this show early in my tenure at the Guggenheim. e exhibition, Piet Mondrian: Ever further, marks the rst in a new series titled Collection in Focus, of presentations that will be drawn from the Guggenheimís storied holdings.
: ìHow do you see the museumís legacy of innovative architecture, embodied in Frank Lloyd Wrightís iconic New York building, informing its future expansion, particularly with the forthcoming Frank Gehry-designed Guggenheim Abu Dhabi, and what opportunities do you envision for the museumís global presence and artistic programming?î
: Our famous building in New York is one of only two UNESCO World Heritage sites in the city the other being the Statue of Liberty. e shared distinction is no coincidence: both are striking works of sculpture and architecture at once, and of enduring universal value to our shared humanity. e Frank Lloyd Wright
Rotunda is a symbol of architectural innovation and a cornerstone of the Guggenheimís identity. anks to our founders, we have always embraced the idea of breaking conventions and challenging traditional boundaries. e Guggenheim Bilbao is a similarly unique and inspiring building, designed by Frank Gehry. As we look to the future, particularly with the upcoming Guggenheim Abu Dhabi also designed by Gehry, we intend to maintain this legacy of innovative architecture that creates spaces where all people can have transformative experiences of art. In Abu Dhabi, we will not only showcase contemporary art but also engage with the rich context of this crossroads country, fostering intercultural dialogues. is newest star in our constellation will o er an exciting platform from which to amplify our global art programs, ensuring that the Guggenheim remains a vital and dynamic force in the cultural landscape locally and internationally.
: ìAs museums have historically been linked to innovations in technology, om the Great Exhibition of 1851 in London to the present day, what is your outlook on the Guggenheim embracing and re ecting the rapid technological
advancements of our time, and what initiatives or exhibitions can we expect to see under your leadership that will showcase the intersection of art and technology?î
: e Guggenheim has a great history of exploring the intersection of art and technology, including collaborating with artists who are using new technology, as Jenny Holzer did with a stunning LED sign scrolling up the Rotunda back in 1989 that she revived with a new AI component last year. My goal is to ensure that the Guggenheim remains at the forefront of the art of our time, o ering innovative experiences that enrich the way we engage with contemporary art and the future of creative practice. Our ongoing LG Guggenheim Art and Technology Initiative exempli es this commitment. is ve-year, multifaceted collaboration with LG recognizes, celebrates, and supports artists who are leveraging and expanding technology as an ever evolving medium.
: In an increasingly interconnected world, where visual literacy and immersive experiences have become a shared global language, how do you see the Guggenheimís portfolio of museums evolving to meet the changing expectations of diverse audiences, and what role do you see the museum playing in shaping and re ecting our collective visual culture?î
: Artists and museumgoers alike are motivated by their own curiosity. I foresee that the Guggenheim will continue to adapt to the publicís imaginative expectations of what art can be. We want to support our visitorsí interest in participating in art as a fount of creativity and insight and an enduring resource to society ñ whether in any of the four beautiful buildings in our constellation or in our online o er. With the rise of immersive and technology-forward exhibitions, there is no limit to the stories people can tell with and through the art we collect, preserve, and present. By responding to the evolution of contemporary art, technology and social discourse, the Guggenheim will remain a vital cultural hub for relevant conversation. We will continue to inspire future artists and museum goers ñ ever further.
When one thinks of Piet Mondrian, immediate images come to mind those iconic grid masterpieces de ned by bold black lines and panes of red, yellow, and blue. For many, these geometric compositions symbolize the artistís identity. Yet, these were not merely aesthetic experiments; they were the culmination of a lifelong quest to articulate a universal visual language. Now, the Guggenheim Museum invites us to trace this journey in Piet Mondrian: Ever Further, revealing the breadth of his evolution from naturalist beginnings to radical abstraction.
e exhibition is the inaugural entry in the museumís Collection in Focus series, designed to illuminate the treasures within the Guggenheimís world-renowned
collection. Featuring 18 works, including two rare sketchbooks and a signi cant loan from the Clark Art Institute, the exhibition provides an intimate look at Mondrianís progression as an artist, oering new insights into the mind of one of the 20th centuryís most transformative gures.
Curated by MariÎt Westermann, Director and CEO of the Guggenheim, the exhibit unfolds as a visual narrative of Mondrianís artistic journey. ìMondrianís pic-
tures in the Guggenheim allow us to reconstruct his creative journey step by step,î Westermann explains. ì ey help us see him as the experimental painter he was not just the geometric designer many know him to be.î e story begins in Mondrianís native Netherlands, where he meticulously captured trees, windmills, and landscapes in naturalistic sketches. ese early works reveal his fascination with light and structure, even as he explored representational forms. e seeds of his iconic
abstraction are present here glimpses of the balance and harmony that would later de ne his career.
e exhibitionís title, Ever Further, encapsulates Mondrianís relentless drive to move beyond representation. His move to Paris in 1912 marked a turning point, as exposure to Cubism and the avant-garde propelled him toward a radical rethinking of form and composition. Over time, Mondrian reduced his work to essential elements lines, planes, and primary colors resulting in his revolutionary Composition with Red, Blue, and Yellow.
One of the exhibitionís standout features is a pair of rarely seen sketchbooks. ese intimate artifacts oer a window into Mondrianís thought process, tracing the evolution from detailed studies of nature to his abstract experiments. e inclusion of works from the Clark Art Institute enriches the narrative, providing viewers with a fuller understanding of Mondrianís path toward abstraction.
Mondrianís inuence extends far beyond the canvas. His association with the De Stijl movement cemented his belief that abstract art could shape modern life. is philosophy positioned art as a blueprint for urbanization,
modernity, and functionality, and its impact has been profound. Decades later, his signature style has permeated elds as diverse as fashion, furniture design, and even branding. From Yves Saint Laurentís iconic Mondrian dress to contemporary soware interfaces, his vision continues to inspire.
In this light, Ever Further is not just a celebration of Mondrianís work but a reection on his enduring legacy. As Westermann notes, Mondrianís ideas transcended art, inuencing the way we perceive and interact with the world. ìHe believed that art could communicate something
universal, something essential about modern life,î she says. e Guggenheim itself feels like the ideal seing for this exhibition. Ascending Frank Lloyd Wrightís spiraling rotunda to the annhauser Gallery, visitors are immersed in a space that mirrors Mondrianís philosophy of clarity, structure, and movement. e interplay between Mondrianís works and the museumís architecture creates a dialogue that underscores the timeless relevance of his vision.
Supported by the Dutch Culture USA FUTURE 400 program, Piet Mondrian: Ever Further is both a retrospective and an invitation. It encourages viewers to reconsider what abstraction means, tracing the steps of an artist who pushed boundaries and rede ned the possibilities of visual expression. Mondrianís journey was one of constant re nement and experimentation, moving ìever furtherî from the natural world into the realm of the universal.
For those who visit, the exhibition oers more than just a glimpse into Mondrianís work itís a chance to see the world through his eyes, in all its balance, order, and brilliance.
ìOrpheus with his lute made trees, And the mountain tops that eeze, Bow themselves, when he did sing; To his music, plants and owers Ever sprung; as sun and showers ere had made a lasting spring. Every thing that heard him play, Even the billows of the sea, Hung their heads, and then lay by. In sweet music is such art, Killing care and grief of heart Fall asleep, or hearing, die.î
- William Shakespeare
to Orpheus, the mythical musician who could charm even the most inert objects with his song, serves as a ing introduction to the Solomon R. Guggenheim Museumís latest exhibition, ìHarmony and Dissonance: Orphism in Paris, 1910ñ1930î. e exhibition explores the revolutionary art movement of Orphism, which emerged in Paris during the early 20th century and sought to capture the essence of music and its emotional resonance in visual art.
Orphism, coined by poet Guillaume Apollinaire in 1912, described artists who were moving away from Cubism, toward an abstract, multisensory mode of expression. Apollinaireís concept referenced the Greek mythological poet and lyre player Orpheus, who swayed nature and challenged death with his song, equating the
ephemeral abstraction of music with Orphismís transcendent character.
As Samuel Taylor Coleridge once noted, ìNothing is as contagious as enthusiasm. It is the real allegory of the myth of Orpheus; it moves stones, and charms brutes. It is the genius of sincerity, and truth accomplishes no victories without it.î is notion of enthusiasm as a potent force that can inspire and transform is embodied in the works of the Orphist artists, who sought to break free from traditional representational art forms and create a new, dynamic language of color and form.
e exhibition brought together a diverse array of artists, including Robert Delaunay, Sonia Delaunay, Frantiöek Kupka, and Francis Picabia, who created kaleidoscopic compositions that captured the simultaneity of
modern life. eir works investigated chromatic consonances and contrasts, engaging with the rhythms and syncopations of popular music and dance.
One of the exhibitionís strengths is its ability to convey the movementís boundary-pushing approach to art. By juxtaposing painting, sculpture, works on paper, and ephemera, the show highlights Orphismís multidisciplinary nature and its intersections with other art forms. e exhibition also sheds light on the transnational character of the Orphism movement, reecting the increased mobility and exchange of ideas that de ned the early 20th century and beyond. Artists from various countries converged in Paris, fostering a vibrant cultural landscape that encouraged experimentation and resonates with the global nature of the world we live in today.
Robert Delaunay, Circular Forms (Formes circulaires), 1930. Oil on canvas, 50 3/4 ◊ 76 3/4 in. (128.9 x 194.9 cm).
Solomon R. Guggenheim Museum, New York, Solomon R. Guggenheim Founding Collection 49.1184.
Photo: Kristopher McKay, Solomon R. Guggenheim Museum, New York
Robert Delaunay, Red Eiffel Tower (La Tour rouge), 1911-12. Oil on canvas, 49 1/4 ◊ 35 3/8 (125 x 90.3 cm). Solomon R. Guggenheim Museum, New York, Solomon R. Guggenheim Founding Collection 46.1036. Photo: Midge Wattles, Solomon R. Guggenheim Museum, New York
Thomas Hart Benton, Bubbles, 1914-17. Oil on canvas, 22 ◊ 17 in. (55.9 x 43.2 cm).
AN INTERVIEW WITH THE WRITER AND MUSICIAN ON SPRINGSTEEN’S STRIPPED - DOWN MASTERPIECE, ITS CULTURAL ECHOES, AND THE JOURNEY FROM BOOK TO FILM.
some albums arrive fully formed; others feel like transmissions !om another world. Nebraska is the la er. Recorded alone on a four-track casse e in the quiet of his Colts Neck, New Jersey home, Bruce Springsteen’s 1982 album was never intended for release in its raw form. It was a collection of stark, unvarnished stories songs about dri ers, criminals, and lost souls that stood in sharp contrast to the glossy, high-energy sound that de ned rock and pop in the Reagan era. Yet, against all odds, Nebraska became one of Springsteen’s most enduring works.
For author, musician, and historian Warren Zanes, Nebraska was more than just an album it was a mystery to be unraveled. His fascination led him to write Deliver Me !om Nowhere, a book that unpacks the making, meaning, and cultural resonance of the record. rough extensive research and personal conversations with Springsteen, Zanes explores not just the mechanics of the album’s creation, but the emotional and artistic crossroads that led to it. Now, Nebraska is taking on a new life with an upcoming lm adaptation of Deliver Me !om Nowhere, starring Jeremy Allen White.
What makes Nebraska so compelling, even decades later, is its refusal to conform. At a time when music was leaning into excess big production, big videos, big statements Springsteen went in the opposite direction. He stripped everything down, leaving behind only the essentials: a voice, a guitar, a harmonica, and the hum of tape hiss. e imperfections became part of its character. In an age of digital perfection, where music is endlessly polished and manipulated, Nebraska feels more alive than ever.
!ollettino : Can you share how your own experiences as a musician and having met Bruce roughly around the time of
the making of the original album helped inspire you to write this book? Did you know Bruce would participate before you began?
warren zanes : I was still a teenager when I rst met Bruce Springsteen. Having grown up with his music in regular rotation on the family stereo, this was, of course, a thrill. He was in the middle of the Born in the USA tour, riding very high, and he came to the 150-seat club where we were playing the Rhinoceros Club in Greensboro, North Carolina joining us onstage for Hang on Sloopy and Stand By Me at was a long time ago, nothing I expected him to remember. But he did remember. at didn’t mean it was a given that he’d sit with me so many years later to talk about Nebraska. I went into the book project not yet knowing, but hoping he’d participate. ankfully, he gave me time and remarkable insight into both the recording process and that di%cult time in his life.
!ollettino : Your book shares some of the undercurrents of the 1980’s that may have in&uenced the direction Bruce chose to go in when making the album. Films like Terrence Mallick’s Badlands and other cultural phenomena that were &oating about the ether of the period; do you think there is something about this current time that has led to a moment in which the public is uniquely receptive to the message of the book and soon to be lm?
warren zanes : We’re so rmly entrenched in a digital era and a digital lifestyle that, I think, people marvel at Nebraska’s rough edges, its un nished qualities. e imperfections of that recording have become a kind of sign of life. With all the worry about AI, with all the recordings that have been tuned and xed in such a way that a kind of perfection is now almost standard, there’s Nebraska. Its
ìZanes has emerged om the wilderness of Nebraska with one of the greatest books about the creative process ever wri en. By focusing on Springsteenís dark masterpiece and the soil it emerged om, Zanes elevates it to near mythic stature. Deliver Me om Nowhere is profoundly felt, deeply understood, and (as it should be) full of joy and abandon with a hint of menace.î
Nick Flynn, author
characters are in trouble, never to be cleaned up by the arti ce of happy endings. Its sound is in trouble, never to be cleaned up by the veneers that even in 1982 could bring a certain gloss and sheen to recordings. Springsteen refused to tidy things up, and the result is an album that felt like it was speaking some strange truths to us. Today, in the age of ìfake newsî and an increasing number of questions about what is ìrealî was that a person who sent me that text? Or was it a ìbotî? Nebraska provides something we're intuitively feeling ourselves to be missing or, worse yet, in danger of losing altogether. For artists, it s a reminder that imperfections can be among the strengths of a work, no maer the medium.
: Can you talk more about the cultural context in which ìNebraskaî was released? How did the album re ect or challenge the dominant musical trends of the time?
: Nebraska arrived into the start of the
MTV 1980s, into the dark heart of Reaganís America. Reagan gave us a vision of America that involved a lot of pageantry, yet many were living lives that involved unseen struggles. I believe Springsteen wanted to look behind the facade that was being presented. On the personal side, I think he was also wondering about what was hidden within himself. ereís a kind of bravery to what he did that touched a lot of people who make art. He wasnít creating from some heroic place so much as he was working from the frailty he was feeling within himself. Rock and roll, so associated with a particular male swagger, hasnít seen a lot of this kind of vulnerability.
: How did you establish enough trust that Bruce would participate and how did you navigate the ne line of respecting the boundaries of an artist that may only want to go so far on certain topics?
: Bruce is probably the most open artist
Iíve interviewed, and Iíve interviewed a lot of them. But I believe he crossed over into some territory where he found himself thinking, ìWhatís the point in NOT talking about this stu?î He brings a lot of candor to every situation. In the interviews for the book, I didnít hear him say, ìI donít want to talk about that.î He took on every question. But I would add that I didnít come in the room with a tabloid sensibility or a criticís interest in assigning value to the work, in the good/bad sense of assigning value. Iím interested in human stories and art that has a kind of historical importance. ereís a lot of music I donít particularly like that I believe has signi cant historical importance, and I can discuss it at length without ever having to say, ìatís not good.î Village People, Britney Spears? Both are historically important, very rich as subjects to explore. Whether I think theyíre good or bad is nally not that interesting. I happen to love Nebraska, and have loved it for several
Photo: Danny Clinch
Jeremy Allen White as Bruce Springsteen in 20th Century Studiosí ìDeliver Me From Nowhere.î
Provided By Mark Seliger/20th Century Studios
decades, so, admi edly, that greased the cogs in a particular way that I think is meaningful.
: You had an opportunity not many writers do, to visit the place where it all went down with the actual person who did it. What was it like to go to the Coltís Neck New Jersey home in which Nebraska was recorded with Bruce himself? How does one prepare for such a moment and was there a special insight that you gained while you were both there, if any?
: Iím interested in the places where things were made. I think many of us are. Iíd like to see where Cindy Sherman made her rst work, where Raymond Carver wrote What We Talk About When We Talk About Love, Joseph Cornellís workplace. Just like the things these artists made, the places they made them in vibrate with the creative explosions that happened there. Maybe itís ma er of projection, I donít know. Iím interested, either way. So, going to the bedroom where Nebraska was made, driving over there with Bruce, was an experience I keep in my fault of special experiences. I'd been thinking about and writing about that room for a few years, and, obviously, the bedroom in my mind was not the same as the one I encountered. I had to do a li le surgery, removing my earlier vision of the place. One of the lessons learned, however, relates to Bruce's sensitivity to other creators. He had a feeling that this experience would help me, which it did. ere are a lot of artists who need to stay in their
own heads to do what they do, but I appreciated and still admire that Bruce could extend himself in this way. It was the single best way to conclude the project. He gave me my coda.
: e master recording existed solely in a commercially available casse e tape in Bruceís pocket for a long time. e odyssey of bringing to life the essence of that recording took many twists and turns, and ultimately led to the beginningÖhow did the process in which he record the album foreshadow todayís music scene?
: In taking his recording operation to the bedroom, Bruce was making an unlikely move that would, in a number of years, become something closer to the norm. Commercial recording studios, many of which would close, were going to suer because of this. But the capacity to make multitrack recordings was democratized. at four-track casse e recording, made by an artist who had just had a number one record, signaled a coming revolution. But I donít think thatís what Bruce was out to do. It just so happened that he sparked something, inadvertently. Heís one of those artists who have that kind of impact.
: When I rst moved into New York City in the 90s, like generations before me, it seemed like every cool person I knew was in a band. Now there are DJs and Tik Tokers, and other mainly solitary pursuits, do you think the pendulum will ever swing back to more collaborative forms of expression like musical bands?
: Iím not particularly prophetic as a person. I get a lot of things wrong when I try to create a picture of the future. But hindsight tells me that the pendulum will indeed keep swinging. It wonít swing right back to where it was, of course. Weíd still be living in caves if that were the case. But human interactionin the form of an ensemble, a duo, a bandis too good to leave behind. Something happens when one person plays with another that sometimes throws o sparks. ereís a rub between two or more people making sounds that can bring a lot of life to a groove, even if theyíre playing with machines or computers. Listen to Enter the Wu Tang, thatís got some feeling. So, yes, I believe that new versions of the combo will come back for a number of years to come. Iím just not sure if theyíll look like e Beatles.
: While writing the book, did the notion of it being adapted into a movie ever cross your mind? How did the lm come about?
: Never. Not for a moment. Did I see it as I wrote it? Yes. But did that lead me to dream of movies? No. A Hollywood producer, Eric Robinson of the Gotham Group, got the idea and sought me out. We started talking. Gotham reached out to their rst-choice director, Sco Cooper. I helped bring Sco together with Bruce and his manager Jon Landau, and this thing took on a life of its own. As a writer, Iíd be a fool to expect such things. As a dreamer, I welcome them.
Photo: Roz Levin
Madison Headrick, model and founder of care. .on
Photo: Joe Charles Holtrichter
the be er part of her life in motion. As a model, sheís been everywhere backstage at international fashion weeks, racing through airport terminals, and waking up in unfamiliar hotel rooms before the sun. But for Headrick, travel isnít just about movement itís about ritual.
In the quiet moments between takeo and landing, between jet lag and runway lights, a philosophy was born: self-care as a form of resilience, skincare as a grounding force. at idea became Care.e.on, a beauty brand built not just for skin, but for the soul of the modern traveler.
Care.e.on didnít come from a boardroom strategy session it was born in the in-between spaces, from redeye ights and dry-air cabins, from the quiet urgency of needing to look and feel human aer 12 hours in transit. When Headrick launched the brand, she turned to the artists who had long inspired her aesthetic purists like Morandi, Manzoni, and Ryman. eir devotion to simplicity resonated with her own approach to skincare: strip away the excess, and what remains is essential.
is philosophy extends beyond packaging. Headrick describes the hues of Care.e.onís products as a tribute to her roots in Charleston, South Carolina plu mud, sand, sweetgrass. ey are colors of place, of perma-
nence, a contrast to the transient world she inhabits.
And yet, inspiration can strike anywhere. e brandís newest release, the Layover Lip Mask, was sparked not by art, but by taste a eeting culinary experience in Malibu. e hint of yuzu, delicate yet fresh, became the heart of the product, an olfactory memory woven into skincare.
For Headrick, skincare isnít about excess itís about precision. Every product in Care.e.onís lineup serves a purpose, a counterpoint to the bloated, step-heavy regimens that dominate the beauty space. e challenge? Staying innovative while staying lean.
ì e beauty industry thrives on newness,î Headrick says, ìbut Care.e.on isnít about chasing trends. Itís about creating whatís truly needed, what makes travel easier, lighter, be er.î
e Carry-All, a sleek expansion of the brand, embodies this balance. More than a bag, itís a travel companion streamlined, intentional, designed to hold only the essentials. Itís a reection of Headrickís own approach to packing: minimalist, ecient, always prepared for the next destination.
For all its elegance, Care.e.on is deeply personal. Headrickís career has spanned over 15 years, and if thereís
one lesson the industry has taught her, itís that beauty and well-being are inseparable.
She remembers the exhaustion of back-to-back photoshoots, the disorienting haze of time zones, the need to pull herself together aer yet another sleepless ight. Skincare wasnít just about looking fresh it was an act of self-preservation, a ritual that grounded her in the chaos.
atís what Care.e.on is about. Itís skincare, yes, but itís also a mindset. A belief that travel can be restorative rather than draining, that beauty isnít about perfection but about feeling good in your own skin no ma er where you wake up.
In an industry where beauty is oen conned to vanities and bathroom shelves, Headrick is pushing it forward into airports, onto planes, into the hands of those who never stop moving.
ìWellness isnít just a trend,î she says. ìItís about how you take care of yourself when no oneís watching. When youíre exhausted, when youíre in transit, when you just need a moment for yourself.î
With Care.e.on, those moments arenít just possible theyíre essential. And for the modern traveler, that might just be the most beautiful thing of all.
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to talk about the small population of Iceland in relation to the nationís achievements, whether in sports, in banking, or in the arts. Among the countryís numerous world records ìper capita,î the art scene of ReykjavÌk could plausibly lay claim to being the most active of any capital city if only there were some way to measure it. e cityís various art museums and galleries offer eventful programs throughout the year. Because of the small scale of the Icelandic art community, exhibition openings can o en resemble the ctional Boston bar ìCheers,î a place where everybody knows your name.
Art-making is also a relatively young profession in Iceland. Scholars sometimes joke about Icelandic art history beginning in the year 1900, when fiÛrarinn B. fiorl·ksson sailed back to ReykjavÌk from his studies at the Royal Danish Academy of Art and held the countryís rst solo exhibition of Icelandic paintings.
It should come as no surprise that fiorl·ksson and other early 20th-century pioneers found their primary inspiration in nature. Much like Icelandís diverse landscapes, these paintings defy homogeneity. ey juxtapose serene sunny days and bright summer nights with rugged,
windswept seascapes. Winter landscapes from this period are plentiful, and the countryís signature moss-covered lava elds are a recurring theme. e islandís top tourist aractions today active volcanoes and the Northern Lights also captivated the leading Icelandic painters of the last century.
Fast forward to ReykjavÌk in 2025, and you will nd a bustling contemporary arts scene. ìSo many articles have been printed about Iceland where it is said that every other person is in a band or a writer or working in the cultural sector,î notes Hildigunnur BirgisdÛir, one
of Icelandís most prominent artists. Her Icelandic Pavilion exhibition at the 2024 Venice Biennale, atís a Very Large Number A Commerzbau, has now made its way to the National Gallery of Iceland, where it will be on view until September.
ìWe are a nation of what, 350,000? at is kind of like a single neighbourhood in New York,î BirgisdÛ ir continues. ìWe are tiny. But that holds a lot of opportunities. Itís great being small, because it o ers you both the opportunity to keep a low pro le and to get away with things that others might not.î
e tight-knit community means that, for be er or worse, members tend to steer away from conict. Icelandic artists do not experience the same sense of competition as their counterparts in other parts of the world, BirgisdÛ ir says, and readily collaborate for the sake of the wider art scene.
BirgisdÛ ir has been on the roster of i8 Gallery since 2017. Having maintained an ambitious exhibition program for 30 years, i8 has been a trailblazer in showcasing some of the countryís most inuential contemporary artists while introducing international gures to Icelanders.
e ReykjavÌk gallery was ìjust a tiny hole in the wallî when mother-and-son gallerists Edda JÛnsdÛ ir and Bˆrkur Arnarson opened the original space at IngÛlfsstrÊti 8 back in 1995, Arnarson says. At that time, he remembers, ìthere were a few spaces that artists could rent for exhibitions, but no one approaching artists in order to set up exhibitions. ere wasnít a single commercial gallery in the city.î
Despite the humble address, from which the gallery takes its name, JÛnsdÛ ir and Arnarson did not set the bar low. eir vision was to exhibit cu ing-edge new art that, more oen than not, would be specially made for the space.
ìWe decided very quickly what we wanted to do. And half of our roster consists of artists that have been with us almost since the beginning,î Arnarson says. e inaugural show was devoted to works by Hreinn Fri nnsson, a titan of Icelandic art history, ìand then we exhibited many great artists in a row.î
Fri nnsson co-founded the S⁄M group, which paved the way for performance and conceptual art in the 1960s and inuenced an entire generation of Icelandic artists. His fellow S⁄M members Sigurur and Kristj·n Gumundsson have also been intertwined with the history of i8 for decades. Over the years, many international names have found their way into the roster, including Roni Horn, Lawrence Weiner, ”lafur ElÌasson, and Ragnar Kjartansson.
e gallery has also expanded beyond its namesake address, moving in 2010 to a central location near
ReykjavÌk harbor, one of the busiest ports in Iceland. It is a stoneís throw from Hafnarh˙s, the former warehouse building of ReykjavÌk Art Museum, which recently hosted an exhibition paying tribute to the late Fri nnsson. Stepping into the spotlight in 2025 is another i8 artist: Kjartanssonís multi-channel video installation World Light will be screening at the museum until late September. e 2015 piece is a cinematic adaptation of an epic novel by the Nobel Prize-winning Icelandic writer HalldÛr Laxness. Starring Kjartansson along with his family and friends from the artistic eld, it is a testament to the cooperative spirit of the Icelandic art scene.
Meanwhile, Kjartansson is the latest artist to show at i8ís experimental second location, i8 Grandi. e galleryís annual program launched in 2022 in the Marshall House, a buzzing harborside cultural center in a renovated herring factory, where artists are invited to present a solo exhibition that will evolve over the course of a full year.
New Yorkers will have the chance to participate in the ever-evolving story of i8 this May when the gallery brings a taste of its eclectic program to the city as part of the Independent art fair. On view will be the signature abstract paintings of Japanese artist Yui Yaegashi, the newest addition to the galleryís roster, with their graphic lines framing delicate swathes of color.
GrÈtar fiÛr Sigursson is an Icelandic journalist at R⁄V, the Icelandic National Broadcasting Service. He holds a BA in Art History and eory om the University of Iceland and is currently completing an MA in Art History and Art eory at the University of Iceland and Stockholm University.
Installation view from Roni Horn (2020) at i8 Gallery, ReykjavÌk. Courtesy of the artist and i8 Gallery, ReykjavÌk
Installation view from Hildigunnur BirgisdÛttirís, Peace(2022) at i8 Gallery, ReykjavÌk.
Courtesy of the artist and i8 Gallery, ReykjavÌk
Installation view from Studio Olafur Eliasson(2017-2021)
in the Marshall House, ReykjavÌk.
Courtesy of the artist and i8 Gallery, Reykjavik
Growing up between Saudi Arabia and Sudan, Amel Bashier needed exceptional determination to make it as a woman artist. She had few female role models during her breakthrough years on the Sudanese art scene, but a quest for self-expression urged her onward. A er exhibitions in Khartoum, Sharjah, Nairobi, Cairo, Dubai, Paris, and London, Bashierís contemplative paintings of women will debut in New York this spring at the Independent art fair, presented by Addis Fine Art. e artist, now based in France, portrays female gures who radiate strength and self-possession, traits that she saw in her close family and in her distant ancestors: the queens of ancient Nubia. In this interview, which has been translated om the original Arabic and edited for clarity, she discusses formative memories om her childhood, the feminist struggles that inspire much of her work, and the central message of peace explored in her recent paintings. Hannah McGivern
ì
to freedom in a world that is full of taboos. I was born in Jeddah in a period when the extremist current prevailed, in the days of the Islamic regime. Everything that the soul desires in the world of art, such as music and drawing, was forbidden.
I spent my childhood moving between Jeddah and Port Sudan on the Red Sea. I was in close contact with my family, my roots. I come from multiple nationalities and tribes, each with their own traditions and customs. When we visited our relatives at home, I noticed the smell of incense, the colors, the avors of food, and even the language. My father was from Dongola in northern Sudan, the heart of ancient Nubian civilization. My maternal grandfather was from India. Despite his great love for Sudan, he preserved the traditions of Indian a ire, of speaking Hindi, and eating Indian food. When my moth-
erís relatives visited, it was as if they were living in a miniature India in Sudan. My motherís mother was from the Hadendoa tribe of eastern Sudan. e lyrics of their songs express their courage, their beautiful women, and their pride in them.
e mixture of all these cultural backgrounds stored in my memory many scenes that inadvertently slipped into my paintings. I am always told that my paintings are Persian or Indian in nature: a mixture of Persian inscriptions and motifs and African features.
Even my university professors pointed this out to me. At that time, university education for girls in the Kingdom of Saudi Arabia was limited to a few disciplines. So when I graduated from high school, I traveled to study at the Khartoum College of Applied Studies in the faculty of interior design.
Amel Bashier, Installation Image: Ward
El Juri, Solo Exhibition at Addis Fine Art London, May 2024 (Courtesy Deniz Guzel Photography)
Amel Bashier, Untitled IV, 2023 (Courtesy of the artist and Addis Fine Art)
Women are the inexhaustible source of inspiration for my paintings. Women in all their situations: in strength, in brokenness, in sadness, and in struggle. For much of my life, I have lived with women who were struggling to obtain basic rights.
I am descended from the queens of ancient Nubia. ese women inspire me at the height of their strength, justice, and courage, which passes through to the role of women in the present day. For example, women played a great role in the Sudanese revolution in 2019.
From my rst year of university, I started looking for places to display my paintings and my perspectives to the world. It was di cult as a woman to nd galleries suitable for what I was presenting in my work, without judgment from society.
e activity of Sudanese female artists was very
low, due to the marginalization of Sudanese women. I believed that every woman should express what goes through her mind about her situation and her rights. Art was a space in which I could express my opinions, my existence, and my desires. It was a place where I could be free.
Books, birds, plants, and trees are some of the elements that recur in my paintings. One of my favorite symbols is the hoopoe: this bird is rebellious, proud, and travels long distances alone. I like to add the hoopoe to my paintings as a symbol of womenís love for freedom.
Black and white have dominated my artistic career. Perhaps it is an escape from the noise of color. Of course, like any artist from Africa, my life was rich in colors the sun of Africa, the soil, and the atmosphere. My paintings were rich in those colors in the beginning. But black ink quickly drew me in. I am still aracted to the
magic of the pen. Aer the brush I make the nal touches on my paintings with a pen.
Practicing a style itself is fun, regardless of the tools we use. It is a state of rapture. It is as if the artist is listening to an old song, to all of its mirth and melodies, but in her own language. She is painting, and instead of the song being audible, it turns into a visual.
I am constantly seeking to grow and to explore new ideas through my work. My latest paintings investigate the complexity of human relationships, and the emotions that are born from them whether it be anger, pain, strength, or joy. In a new piece titled At the negotiating table, childhood dies, I address the injustice of children losing their lives in war. I hope my art gives others the opportunity to reect on these painful but important realities.î
Amel Bashier, Ward El Juri, 2024
(Courtesy of the artist and Addis Fine Art)
Amel Bashier, Life, 2022
(Courtesy the artist and Addis Fine Art)
in the late 1970s and 1980s was a heady place for artists. Political awakenings coincided with a collaborative energy and a ourishing of conceptual practices. Andy Warhol was the prince of Pop venerated by a younger generation, Basquiat exploded onto the scene with his propulsive, gra ti-inspired paintings, and a lanky, bespectacled street artist named Keith Haring began spreading his cartoon gures around the world through public interventions and mass-market reproductions. Documenting all of this from behind a camera, while also producing a profound vision of his own, was Tseng Kwong Chi, a queer, Hong Kong-born dandy who found a home in New Yorkís transgressive East Village before his untimely death from complications from AIDS in 1990. e artistís playful conceptual photography and contributions to the downtown scene are only now beginning to be re-examined, and will soon be celebrated in a solo presentation by Yancey Richardson Gallery at the Independent art fair this May.
Shortly aer moving to Manhaan in 1978, Tseng embarked on his signature East Meets West series of photographs, in which he poses stoically in mirrored sunglasses and an austere Mao suit in front of iconic American and European monuments and tourist aractions. e images began as proto-sel es, with the shuer release visible in the artistís hand. Later he had assistants take his portrait, yielding surreal shots of a deadpan Tseng shaking hands with an astronaut in a space suit at Cape Canaveral or towering over Mickey Mouse at Disneyland.
e concept originated in a visit from his parents, who invited him to Windows of the World, an upscale restaurant at the top of the World Trade Center. Tseng wore the only appropriate out t he had: a drab Zhongshan suit, that potent signi er of Mao Zedong and Communist China, which he had purchased at a thri store in Montreal. Mistaken for a Chinese dignitary by the restaurant sta, he was treated with due deference and seated at the best table in the house.
Tseng described his East Meets West persona as an ìambiguous ambassador,î an apt term for a multicultural transplant who had never been to mainland China, but whose journey to New York came via Hong Kong, Vancouver, and Paris. A child prodigy in Chinese ink painting and calligraphy, according to his sister Muna Tseng, he ful lled his dream of studying painting at the AcadÈmie Julian in Paris. But he quickly found an alternative calling in photography, switching over his major before graduating in 1975.
is classical training undoubtedly informed Tsengís work, providing a formal visual language for his photographs. Some of the later East Meets West images were shot in the American West and the Canadian Rockies, foregrounding the magni cent landscapes rather than Tsengís own larger-than-life persona. ey recall traditional Chinese ink paintings in which gures appear as tiny blips in the composition, or 19th-century American landscapes, with their worship of nature seemingly untouched by man.
Of course, these subjects also held a political charge. Awe-inspiring landmarks and natural landscapes have long been tools in promoting an agenda of nationalistic identity and pride. Tsengís series questions how an outsider ts into this narrative. Costumed in the so-called Mao suit, the monolithic gray uniform that mainstream America could identify as de nitively ìChinese,î he interrogated how his adopted country perceived someone like him.
President Nixonís 1972 tour of China had been a visual spectacle, ending 25 years of isolation between the Communist Peopleís Republic and the United States. In early 1979, Deng Xiaoping, Chinaís de facto leader after Maoís death, became the rst Chinese o cial to visit
the US in the modern era. Welcomed to the White House by President Carter, he crisscrossed the country, donning a cowboy hat at a rodeo, visiting a Ford automobile plant and the Johnson Space Center, and making speeches about friendship and cooperation between the two nations. Tsengís performance mirrored that of Deng, de ly playing the role of charismatic diplomat.
Tseng was not particularly interested in the pure politics of statecra , although the Chinese suit had a provocative, identity-bending purpose in his work it was political with a small p. He was a child of global privilege, raised by a family who revered the arts (his father was an amateur photographer who gave Tseng his rst camera),
and who lived in comfort in Hong Kong before emigrating to Vancouver. But in America he was othered: a queer immigrant who came to be embraced by a community of rebels and outsiders.
A er meeting Keith Haring on a street corner, Tseng became his close friend, proli c documentarian, and sometime guide as they traveled the world together. A visit with Haring to a poetry reading at Club 57 was Tsengís entrÈe to the East Village, where he made fast friends with other downtown denizens like Ann Magnuson, Kenny Scharf, and John Sex. Tseng reveled in the intoxicating nightlife and took inspiration from the club sceneís performative energy. e dancer and choreogra-
pher Bill T. Jones once astutely described Tsengís ìambiguous ambassadorî act as a form of ìChinese drag.î Many of his friends adopted party personas, their art intrinsically linked to everyday life.
Tseng captured this community through his camera, taking meticulous studio portraits of Warhol, Basquiat, and many more. He le an archive of approximately 20,000 photographs immortalizing Haringís ephemeral public art for posterity. As in East Meets
West, Tseng understood the vital power of images to in uence perceptions. One late 1980s portrait shows a casually con dent Haring reclining on a couch in jeans and sneakers, surrounded by murals and ceramics in his cavernous lo . e grati artist, far from being unseen and unappreciated, is elevated. Tsengís pictures invite the audience into the private creative world of the artist, transforming societyís rebels into the dignitaries they deserved to be.
Xhingyu Chen is an author, independent art critic, and contemporary art specialist based in Brooklyn. Her upcoming book focuses on a select group of artists who have permanent public artwork in the New York City subway, and it will be published by Schi er Publishing in spring 2026.
, the lights of Broadway will shine bright on a timeless tale of love, jealousy, and betrayal. e classic Shakespearean tragedy Othello is set to take the stage, boasting an all-star cast, including Denzel Washington and Jake Gyllenhaal. is highly anticipated production promises to bring a esh perspective to the Bardís iconic work, infusing it with the urgency and relevance of our modern era.
At the helm of this ambitious endeavor are producer Brian Moreland and director Kenny Leon, two visionary creatives with a proven track record of bringing innovative and impactful productions to the stage. In the following pages, we sat down with Moreland to discuss his approach to reimagining Othello for a contemporary audience, the challenges and triumphs of working with a star-studded cast and director, and the enduring power of Shakespeareís masterpiece to captivate and inspire.
: What drew you to Shakespeareís Othello as a story to bring to Broadway, and how did you envision updating this classic tale for modern audiences?
: Othello is one of Shakespeareís most profound and heartbreaking works, and its themes of love, jealousy, power, and betrayal resonate just as deeply today as they did when it was rst wri en. What drew me to this story was its exploration of identity particularly Othelloís status as an outsider and how that vulnerability is manipulated and weaponized against him. For a contemporary audience, I felt it was important to amplify these elements through the lens of race and systemic power structures that continue to impact our society.
: Your production of Othello features a diverse cast and creative team. Can you discuss the importance of representation and inclusivity in your work, and how you aim to make Broadway more accessible to underrepresented communities?
: Diversity, for me, goes beyond just what we see itís about creating a production that re ects the richness of humanity in all its forms. is includes diversity in gender, age, cultural background, and life experience, all of which bring unique perspectives to the work. By embracing a wide range of voices in both the cast and creative team, we can tell stories that feel authentic, dynamic, and deeply connected to the world around us.
In Othello, it was important to ensure that this diversity wasnít just present but integral to the storytelling. A
production bene ts when the people involved bring their unique insights and lived experiences to the table, enhancing the depth and complexity of the work.
As a producer, Iím also commi ed to making Broadway a space where everyone feels welcome. at means fostering inclusivity not only onstage but ostage as well.
eater is at its best when it re ects the breadth of the human experience, and I believe productions like Othello can inspire new audiences and open doors for the next generation of storytellers.
: What was your collaborative process like with director Kenny Leon on Othello? Did he come to you with a clear vision, or did you work together to shape the direction of the play? How did your partnership in uence the way you tackled the playís themes of love, jealousy, and betrayal, particularly in relation to contemporary social issues and cultural context?
: Kenny Leon is a visionary, and working with him is a true gi. He came into this process with a clear understanding of the emotional weight and urgency of Othello, but what makes Kenny such a remarkable collaborator is his openness to dialogue and exploration.
From the very beginning, our conversations focused on making Othello not just a tragedy of one man, but a story that resonates with audiences through its broader cultural implications. Together, we looked at how themes like love, jealousy, and betrayal intersect with is-
sues like racism, misogyny, and toxic power dynamics, and how those intersections can inform every aspect of the production from the staging to the performances to the visual design.
Kennyís commitment to creating a space for both actors and audiences to confront these themes honestly has been transformative. His approach ensures that Othello feels as alive and vital today as it ever has.
: As a producer, youíve had success with a range of projects, om classical plays to new musicals. What do you look for in a project, and how do you balance artistic vision with commercial viability?
: Iím drawn to projects that tell stories with depth and purpose stories that challenge our perceptions, speak to the human condition, and leave a lasting impact. For example, when I produced e Piano Lesson with Samuel L. Jackson and Danielle Brooks, it was about honoring August Wilsonís legacy while ensuring the production felt alive and resonant for contemporary audiences. at production was a perfect example of a piece that carried immense artistic weight and also connected with audiences in a commercially meaningful way.
Similarly, with Othello, I was excited by the opportunity to revisit a Shakespearean classic while presenting it through a fresh lens, exploring its themes of love, jealousy, and betrayal in ways that resonate with todayís social and cultural context.
Balancing artistic vision with commercial viability requires a deep understanding of both the work and the audience. I look for projects that inspire passion in their creative teams, because that passion translates to the audience. But itís also about creating an experience that makes the theater feel essential something people have to see. Whether itís a new musical, a revival like e Piano Lesson, or a timeless classic like Othello, my goal is to present work that is both artistically bold and accessible to a wide range of audiences.
Ultimately, I believe that when you honor the story and the creative vision behind it, you create a foundation for commercial success. Audiences respond to authenticity, and when a project has heart, purpose, and excellence, it can transcend traditional boundaries and draw people in.
My job as a producer is to create the conditions for that magic to happen.
ceilings of Parisís most iconic cultural landmark, a new era of fashion is unfolding. e MusÈe du Louvre, long celebrated as the epicenter of art and antiquity, is now a catwalk of haute couture. Its latest exhibition, Louvre Couture: Art and Fashion ñ Statement Pieces, is a groundbreaking exploration of the intricate ties between art and high fashion, spanning centuries and styles. For the rst time, the museumís storied halls host an unprecedented dialogue between its Department of Decorative Arts and 45 of the worldís most iconic fashion houses.
e exhibition, running from January 24 to July 21, 2025, is a visual and intellectual feast. A stunning 9,000 square meters of gallery space has been transformed to showcase over 100 couture creations alongside masterpieces of decorative arts. Curated by Olivier Gabet, the exhibition doesnít just juxtapose gowns with gilded antiques it stitches together the shared threads of cra smanship, artistry, and ornamentation.
Visitors are invited to meander through the galleries, where eras collide in seamless conversation. In one room, the glier of Byzantine gold meets the modern sculptural fantasies of Iris van Herpen. Across the way, the intricate enamelwork of Renaissance ceramics nds echoes in the couture embroidery of Dior and Chanel. e Napoleon III Apartments, resplendent with Second Empire grandeur, provide the perfect backdrop for John Gallianoís regal moirÈ and velvet gowns. ìWe wanted to create more than just a display,î said Gabet. ì is exhibi-
tion is a manifesto on the symbiotic relationship between fashion and the decorative arts.î Indeed, the exhibition celebrates not only the designers of today but the artisans of the past who laid the groundwork for coutureís meticulous techniques.
Highlights include Chanelís 2019 jacket, inspired by an 18th-century commode from the museumís collection, and Alexander McQueenís Armadillo shoes, reimagined as if they were relics unearthed from the museumís trove of artifacts. ese pieces are not merely placed in rooms they are in dialogue with them, mirroring their surroundings in form and function.
e connection between the Louvre and haute couture is no accident. Long before designers like Balenciaga and Givenchy brought their collections to life, the museum served as an endless source of inspiration. As Olivier Gabet noted, ì e Louvre has always been a mood board for fashion its collection is a testament to how tastes evolve.î From the folds of drapery immortalized in marble statues to the geometric paerns of Moorish tilework, the museum has unwiingly shaped the trajectory of modern design. Fashion houses, including those featured in the exhibition, have borrowed liberally from its archives, whether itís HermËs ring on medieval tapestries or Rick Owens channeling Gothic architecture.
Adding to the Louvreís fashion-forward endeavors is Le Grand DÓner, a gala fundraiser set to take place on March 4 during Paris Fashion Week. Already likened to the Met Gala, the event is poised to cement the muse-
umís status as the cultural crossroads of art, fashion, and philanthropy. e exhibition has also drawn the aention of global fashion icons. During Paris Fashion Week, Louis Vuion transformed the museumís Cour CarrÈe into a sartorial spectacle, presenting a collection that fused Eastern and Western aesthetics with meticulous Japanese cra smanship.
For fashion enthusiasts and art a cionados alike, the exhibition is an immersive experience. e museum has expanded its oerings to include guided tours, workshops, and lectures that delve into the interplay of fashion and art. Activities range from creating feather brooches to exploring ìfashion faux pasî through the ages a reminder that what is now iconic was once controversial. And for those unable to visit in person, the exhibition catalog oers a richly detailed exploration of the pieces and their historical contexts. ì is is more than an exhibition,î said Laurence des Cars, President-Director of the Louvre. ìIt is a love leer to the enduring relationship between art and fashion.î
In a city that has long been the beating heart of both industries, Louvre Couture is a ing tribute to Parisís dual legacy as the capital of style and culture. Whether youíre there to marvel at a John Galliano masterpiece or to see how a Louis XV tapestry inuenced contemporary couture, this exhibition promises to transform the way you see both art and fashion. A er all, as Paul CÈzanne once said, ì e Louvre is the book from which we learn to readî and now, itís also a runway.
in Queer, Luca Guadagninoís adaptation of William S. Burroughsí semi-autobiographical novel, where Daniel Craigís character, Lee, begins to unravel. e pristine white of his shirt blindingly clean at the start grows sullied, marked by sweat, dust, and the slow dissolution of self. e deterioration is almost imperceptible, but by the lmís end, it is undeniable: clothing, in Queer, becomes a physical register of psychological decay. For Jonathan Anderson, the lmís costume designer, that was the point. ìI like following those threads,î he says. ìWith costume, you can do things that are more subtle, whereas sometimes in fashion, it has to be loud.î Anderson, best known for his work at JW Anderson and Loewe, approaches lm costume not as a separate discipline, but as an extension of his design philosophy one that is deeply a uned to history, materiality, and the space between arti ce and reality. Queer set in 1950s Mexico City exists in that in-between space, a world where memory and ction collapse into each other. Burroughsí novel is as much about the instability of perception as it is about longing, and Andersonís costumes reect that dissonance.
One of the most striking examples is a translucent shirt worn by Drew Starkeyís Eugene Allerton, a
Photo: Yannis Drakoulidis
Photo: Yannis Drakoulidis
Photo: Yannis Drakoulidis
character who, in Burroughsí words, seems to be ìmelting.î e shirt, sourced from the period, is ghostly its sheerness revealing the outline of Starkeyís body, the icker of a cigare e pack in his pocket. ìYouíre trying to work out: Is this real, or is this an exaggerated version of what people wore?î Anderson muses. at question of authenticity versus artistic invention sits at the core of Queerís visual language. It is a lm about perception, and the costumes function as clues, or disruptions, within that hallucinatory framework.
Sourcing period-accurate garments was central to Andersonís approach, but it wasnít about nostalgic recreation. Mexico, as imagined in Queer, is not a documentary se ing but a composite pieces of reality stitched together with fragments of memory and fantasy. ì ere are parts of Mexico in the book that do not exist, but there are parts that do,î Anderson notes. e costumes navigate that same liminal space. Everything is from the 1950s, but often, the garments feel slightly o-kilter too pristine, too worn, too cinematic.
Shooting on lm heightened Andersonís obsession with texture. ì ose textures you nd in the 1950s or í60s with the clothing itís never just a at surface,î he explains. e materials linen, wool, delicate synthetics
absorb light dierently, creating a depth that digital lm oen a ens. Itís an aspect of cinema that Anderson nds fascinating, a stark contrast to the controlled environment of the runway. ìIn lm, you have to lure the audience in and let them know who the character is in a way that unfolds,î he says.
at idea of the slow reveal guides Andersonís costume philosophy in Queer. Leeís journey, both emotional and physical, is charted in fabric: the initial sharpness of his a ire, its slow unraveling, the way the clothes betray his internal undoing. Queer is a lm about dissolution the erosion of control, the blurring of reality and its costumes are complicit in that descent.
For Anderson, working on Queer was an act of translation: of history into ction, of fashion into narrative. It was also, perhaps, a way of stepping outside the rigor of fashionís seasonal churn. ìI like lm because you donít have to sell a product,î he admits. But there is something deeply commercial in what Queerís costumes do best: they sell an idea. Not of Mexico City, or of the 1950s, but of a world that ickers between presence and absence, reality and hallucination where a cigare e pack, glimpsed through gauzy fabric, feels like a memory you can almost touch.
Photo: Yannis Drakoulidis
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collection prepares to reopen its doors in April 2025, following a highly anticipated renovation, the art world is eagerly awaiting the opportunity to experience the museumís distinctive character anew. For many, the Frick has long been a cherished institution, renowned for its stunning collection of European art and the unique opportunity it provides to experience masterpieces in the intimate se ing of a Gilded Age mansion.
One of the Frickís most enduring a ractions is its intimate and domestic scale. Unlike the sprawling metropolises of modern art that dominate the cityís museum landscape, the Frick is a gem of a museum that invites visitors to slow down and savor the art on display. As the art critic and historian John Russell once observed, ì e Frick is a museum that knows its own mind, and is not afraid to be itself... It is a place of unassuming elegance, where the
visitor can move at his own pace, and enjoy the art without being hustled or hectored.î
But the Frickís allure goes beyond its art collection. e museumís historic mansion, once the home of industrialist Henry Clay Frick, o ers a fascinating glimpse into the lives of New York Cityís Gilded Age elite. As visitors wander through the museumís galleries, they canít help but feel like theyíre exploring a private mansion, rather than a public museum. e Frickís grand staircase, intricate moldings, and ornate furnishings all serve as a testament to the lavish lifestyle of the Frick family and their contemporaries.
While the collection as a whole is a marvel, several key works embody the richness and diversity of the museumís holdings. Among them is Giovanni Belliniís St. Francis in the Desert, a deeply meditative work that invites viewers into the profound spirituality of its subject. e luminous Venetian light and the intricate details of ora and fauna create a harmony between the divine and the earthly, encapsulating Belliniís mastery of atmosphere and emotion. St. Francisís serene posture and his communion with nature are themes that resonate timelessly, making this painting a cornerstone of the collection. Another highlight is Jean-Auguste-Dominique Ingresís Louise, Princesse de Broglie, Later the Comtesse díHaussonville. e portrait is a study in elegance and psychological depth, showcasing Ingresís unparalleled skill in rendering fabric, light, and skin. e si erís re ective
The Frick Collection from East 70th Street; rendering courtesy of Selldorf Architects
Jean-Auguste-Dominique Ingres (1780ñ1867)Louise, Princesse de Broglie, Later the Comtesse díHaussonville, 1845 Oil on canvas51 7/8 x 36 1/4 inches The Frick Collection, New York
Photo: Michael Bodycomb
gaze and the sumptuous folds of her silk dress create an air of re nement, while the precision of Ingresís lines hints at a quiet strength beneath her composed exterior. is work captures both the grandeur and subtlety of nineteenth-century portraiture.
James McNeill Whistlerís Symphony in Flesh Colour and Pink: Portrait of Mrs. Frances Leyland exudes a more modern sensibility, balancing opulence and restraint. Whistlerís so tonal pale e and his emphasis on aesthetic harmony over strict realism make this painting a masterpiece of suggestion rather than explicit detail. Mrs. Leylandís poised demeanor and the interplay of pinks and
James McNeill Whistler (1834ñ1903) Symphony in Flesh Colour and Pink: Portrait of Mrs. Frances Leyland, 1871ñ74 Oil on canvas 77 1/8 x 40 1/4
inches
The Frick Collection, New York. Photo: Joseph Coscia Jr.
Rembrandt Harmensz. van Rijn (1606ñ1669) Self-Portrait, 1658 Oil on canvas 52 5/8 x 40 7/8 inches
The Frick Collection, New York
Photo: Michael Bodycomb
Giovanni Bellini (ca. 1424/35ñ1516)
St. Francis in the Desert, ca. 1475ñ80 Oil on panel 49 1/16 x 55 7/8 inches
The Frick Collection, New York
Photo: Michael Bodycomb
golds convey an ethereal elegance, embodying Whistlerís vision of art as a ìsymphonyî of form and color.
Rembrandtís Self-Portrait (1658) o ers a powerful counterpoint with its raw humanity and psychological insight. Painted during a period of personal and nancial hardship, this work reveals the artistís resilience and un inching self-awareness. e thick, almost sculptural application of paint and the play of light across Rembrandtís furrowed brow and weathered face make this self-portrait an unforgeable testament to the enduring power of the artists ability to capture truth in portraiture.
Finally, Giovanni Baista Moroniís Portrait of a Woman exempli es the elegance of sixteenth-century portraiture. e sierís direct gaze and the subtle rendering of her hands convey both individuality and decorum, while Moroniís use of light and shadow brings her presence vividly to life. e understated yet captivating quality of this painting invites prolonged contemplation, re ecting Moroniís gi for capturing the essence of his subjects.
e Frickís renovation has carefully preserved the museumís historic character while introducing a range of exciting new spaces and amenities. e transformation
of the second oor, formerly the Frick familyís private living quarters, into a suite of new galleries is a major highlight of the project. Among the treasures on display and a favorite of the museums devotees is the reinstalled Fragonard Room, a breathtaking space featuring a suite of eighteenth-century French panels painted by Jean-HonorÈ Fragonard. As e Frick Collection prepares for its next chapter, these masterpieces and the intimate, atmospheric seing in which they reside promise to continue captivating visitors, just as they have for generations.
The Frick Collection,
Gift of the Assadour O. Tavitian Trust, 2022
Photo: Joseph Coscia Jr
The Fragonard Room of The Frick Collection (shot prior to the renovation); photographer Michael Bodycomb
Jean-HonorÈ Fragonard (1732-1806)
The Progress of Love: Love Letters, 1771-72, Oil on canvas
124 7/8 x 85 3/8 inches
The Frick Collection, New York
Photo: Joseph Coscia Jr.
Johannes Vermeer (1632-1675)
Mistress and Maid, ca. 1666-67
Oil on canvas, 351/2 x 31 inches
The Frick Collection, New York
Photo: Joseph Coscia Jr.
The iconic Casa Pueblo in Punta Ballena
Photography by Pascula Paolucci
Punta del Este has long been known as a jet-set escape, where golden beaches and sleek architecture meet the untamed beauty of the Atlantic. But beyond the postcard-perfect views and summer glamour, thereís a deeper pulse to this place one that reveals itself through its art, its design, and the way life moves at its own e ortless pace.
To truly understand Punta, you need the perspective of someone who knows it intimately not just as a destination, but as a place that shapes and inspires. Designer Hassen Balut has spent years immersed in its landscape, its cultural spaces, and the details that give it character. From hidden art gems to architectural icons, om vibrant dining spots to the quiet corners where Puntaís essence is best felt, Balut o ers a guide not just to where to go, but how to see this place through the eyes of someone who calls it home.
holds a special place in my heart not just as a gathering spot for friends and family, but as one of the worldís best-kept secrets. Having traveled extensively for work and inspiration, Iíve visited many beautiful destinations, but none capture the same feeling that Punta does so e ortlessly.
ereís something in the air here, something intangible yet undeniable. e people, the landscapes, the effortless blend of elegance and warmth it all contributes to an atmosphere that makes every visitor feel like they belong. e cityís aesthetics, from its endless beaches to its charming cafÈs, encourage you to slow down, take in the moment, and disconnect from the routine of daily life. What sets Punta apart is its unique energy a balance of sophistication and authenticity, where glamour never overshadows simplicity. Itís more than a destination; itís a rhythm, a way of life. e light here is di erent, shi ing from morningís brilliant reections on the ocean to the golden hues of late a ernoon. e air carries the scent of salt, pine, and the distant aroma of a parrilla heating up for the evening.
Mornings o en begin with a walk along La Brava, where waves crash with a wild energy thatís more e ective than any espresso. At its edge standsLa Mano, Mario Irarr·zabalís iconic sculpture giant ngers rising from the sand as if the earth itself were reaching for the sky. No matter how many times you see it, it never loses its impact, a reminder that Punta leaves an imprint on those who visit.
Photography by Patricia Llano
A drive along the coast leads to Casapueblo, Carlos P·ez VilarÛís whitewashed masterpiece perched on the cli s. Part museum, part hotel, part sculpture, it took him 36 years to complete, and yet it feels like it has always belonged to the landscape. Further inland, MACA (Museo de Arte Contempor·neo Atchugarry) is a mustsee, set within 45 hectares of stunning scenery. Its open spaces showcase contemporary works alongside Pablo Atchugarryís own sculptures, which seem to defy gravity. Nearby, Skyspace, a meditative installation by James Turrell, invites visitors to experience light in a completely new way. Si ing inside at dusk, watching the sky transform through the aperture above, is an experience that lingers long a er you leave.
Puntaís contemporary art scene thrives in unexpected corners. FundaciÛn Cervieri Monsu·rez, founded in 2024 by Virginia Cervieri and Pablo Monsu·rez, brings together Latin American artists in a striking space designed by the late Rafael ViÒoly. Silu Studio, a fusion of art,
design, and cra smanship, o ers one-of-a-kind works that reect the creative energy of the region.
Evenings in Punta are a celebration of food and atmosphere. La Huella in JosÈ Ignacio is the quintessential beachfront restaurant, where wood-red seafood and a laid-back energy keep people coming back. Further inland, Marismo o ers dining under the stars, with tables set in the sand and dishes cooked over an open re. For something truly special, Restaurante GarzÛn, in Francis Mallmannís countryside retreat, turns each meal into an art form, where re and time shape every dish.
And no night in Punta is complete without a stop at Medialunas Calentitas. A warm, aky medialuna at dawn is a simple pleasure, but o en, those are the ones that stay with you the longest.
Punta del Este isnít just a resort town; itís a place of contrastsenergy and tranquility, tradition and reinvention. Itís a destination that lingers with you, revealing its beauty in every season, long a er summer has faded.
Playa Brava, a popular beach for surfers
Cipriani Resort Residences and Casino in Punta del Este will open in 2026
FundaciÛn Cervieri Monsu·rez in Jose Ignacio. Courtesy of FundaciÛn Cervieri Monsu·rez. Photo: Francisca Vivo
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í , design is more than a backdrop itís a character, a narrative device, and a guiding principle that shapes every frame. With the launch of the rst retrospective of his work, Wes Anderson: e Exhibition, the spotlight turns to the directorís seamless integration of visual storytelling and cinematic artistry. e exhibition, opening at La CinÈmathËque franÁaise in March 2025 and later at the Design Museum in London, dives deep into Andersonís universe a world of symmetrical compositions, color-coded pale es, and intricate, almost obsessive, a ention to detail.
Anderson himself credits Henri Langlois, the pioneering founder of La CinÈmathËque franÁaise, as a formative inuence. ìI indirectly trace my own movie education to Henri Langlois and his acolytes,î Anderson remarked. Langloisís ethos of preserving not just lms but the essence of cinema costumes, props, posters nds
resonance in Andersonís work, where every element feels curated, deliberate, and essential. In many ways, Andersonís lms are an homage to Langloisís vision: a fusion of nostalgia, artistry, and an unyielding love for cinema.
e exhibition promises to bring this vision to life, showcasing original props, costumes, and insights into Andersonís creative process. From the faded grandeur of e Royal Tenenbaums to the childlike wonder of Moonrise Kingdom, and the meticulous stop-motion sets of Fantastic Mr. Fox, Andersonís design sensibility is inextricably tied to his storytelling. His lms are not just seen theyíre experienced, each frame a tableau rich with layers of meaning.
What sets Anderson apart is how design informs every aspect of his production, shaping not just aesthetics
but also narrative. His long-time collaborations with production designer Adam Stockhausen and costume designer Milena Canonero have created a distinct visual language. Each lm feels like stepping into a self-contained world where every object, every stitch of fabric, has a story to tell.
Take the whimsical yet melancholic charm of e Grand Budapest Hotel. e pastel hues and Art Deco motifs are not just visual ourishes they reect the fragility and eeting beauty of the world Anderson portrays. Similarly, the tightly packed, miniature-like train compartments of e Darjeeling Limited echo the brothersí cramped emotional journeys, while the vibrant red uniforms in e Life Aquatic with Steve Zissou become a symbol of both camaraderie and isolation.
Andersonís use of design aligns him with auteurs like Jean-Pierre Jeunet and Terry Gilliam, who also understood the narrative power of space and detail. Jeunetís
whimsical, hyper-stylized worlds in AmÈlie and Delicatessen are rich with visual storytelling, using quirky design elements to evoke a sense of magic and eccentricity. Similarly, Gilliamís surreal, dystopian landscapes in Brazil and e Adventures of Baron Munchausen demonstrate how meticulous design can heighten the absurd and fantastical elements of a story. All three directors use design as an extension of their storytelling, transforming physical spaces into emotional and thematic landscapes.
is philosophy is exempli ed in Andersonís e French Dispatch, a love le er to e New Yorker and its idiosyncratic contributors. Just as he celebrated the unique voices of writers like James Baldwin and Joseph Mitchell, Andersonís lms re ect his belief in the power of a distinctive signature style. ìI have a way of lming things and staging them and designing sets. ere were times when I thought I should change my approach, but in fact, this is what I like to do. Itís sort of like my handwriting as a movie director. And somewhere along the way, I think Iíve made the decision: Iím going to write in my own handwriting,î he remarked. In both his lms and this particular tribute, Anderson arms that individuality, whether in writing or lmmaking, is central to creating something enduring.
Anderson further elaborates, ì atís the kind of movie that I like to make, where there is an invented reality and the audience is going to go someplace where hopefully theyíve never been before. e details, thatís what the world is made of.î is philosophy underscores his approach: transporting viewers to meticulously imagined worlds where the smallest details build the foundation of an entirely unique reality.
With Wes Anderson: e Exhibition, visitors are invited to explore not just the art of lmmaking but the cra of world-building. As Anderson continues to inspire a new generation of cinephiles, his work reminds us of the power of designnot just to shape how we see the world but to shape the stories we tell within it.
Andersonís enduring partnership with Langloisís legacy through La CinÈmathËque franÁaise comes full circle with this retrospective. Itís a ing tribute to a director whose lms feel like living museums, preserving not just moments but entire worlds.
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Rissa in galleria
Umberto Boccioni
, Palazzo Ci erio stood in limbo an elegant ghost haunting the streets of Milanís historic district, its grand 18th-century facade a silent witness to a half-century of false starts and broken promises. Today, the silence is over. At long last, the doors have opened, and within them, the long-envisioned expansion of Milanís artistic landscape has taken tangible, breathtaking form.
Palazzo Ci erio is more than just a museum. It is the long-awaited missing piece of a grand cultural vision dating back to the 1970s, when Italy acquired the property with the intention of expanding the Pinacoteca di Brera, Milanís historic national gallery. Known as the ìGrande Breraî project, the plan sought to unite a constellation of cultural institutions the Pinacoteca, the Braidense National Library, and a modern art museum into a single, interconnected artistic hub.
at dream was easier imagined than realized. Decades of bureaucratic roadblocks, restoration mishaps, and funding issues turned Palazzo Ci erio into a symbol of artistic aspiration perpetually deferred. But Milan, a city that thrives on reinvention, has nally delivered. With the palaceís restoration complete and its exhibition halls lled,
modern Italian art now has a home worthy of its legacy.
At the heart of Palazzo Ci erioís opening is its collection an extraordinary assemblage of 20th-century Italian art, sourced from two seminal private collections: the Jesi Collection and the Vitali Collection. ese names might not be as instantly recognizable as the Medici or the Ge y, but within them lies a revolution in paint and form, a dialogue between tradition and modernism that helped de ne Italian art in the early and mid-20th century.
e Jesi Collection, gied to the state in the 1970s by the industrialist Lamberto Vitali and collector Emilio Jesi, represents a golden era of Italian avant-garde. Here, visitors can encounter the raw dynamism of Umberto Boccioniís ìDynamism of a Cyclistî, a swirling vision of speed and motion that captures the heartbeat of Futurism. Nearby,Giorgio Morandiís still lifesexude a quiet, monastic discipline bo les and vessels rendered with meditative precision, whispering of a world beyond the chaos of modernity.
en thereís Amedeo Modigliani, the wandering soul of Italian modernism, whose elongated portraits gaze out with the melancholic elegance of gures caught be-
tween worlds. His ìPortrait of Jeanne HÈbuterneî, included in the collection, is a masterpiece of subtle emotion eyes heavy with longing, form elongated like a gure in a Renaissance fresco, yet u erly modern in its execution. e Vitali Collection, meanwhile, adds a broader European dimension. ereís a stunningPablo Picassofrom his Blue Period, its gures draped in shadow and sorrow, a testament to the artistís relentless reinvention. Works by RenÈ Magri e and Georges Braquefurther enrich the collection, oering glimpses of Surrealismís dreamscapes and Cubismís fragmented realities.
To fully appreciate the signi cance of Palazzo Ci erio, one must understand the institutions it now joins. e Pinacoteca di Brera, Milanís prestigious national art gallery, is home to an unparalleled collection of Renaissance and Baroque masterpieces. Caravaggioís ìSupper at Emmausî, Mantegnaís ìDead Christî, and Raphaelís ìMarriage of the Virginîde ne its hallowed halls. Until now, however, the museum lacked sucient space to house a proper modern art collection a glaring omission for a city that has long been at the forefront of contemporary artistic movements.
Palazzo Citterio Foto: Walter Vecchio
en thereís the Braidense National Library, founded in the 18th century and one of Italyís most significant historical archives. It houses over a million volumes, including rare manuscripts and illuminated texts that trace the evolution of knowledge through centuries. Together with the Pinacoteca and Palazzo Ci erio, these institutions form the ìGrande Breraî a cultural nexus that positions Milan alongside Florenceís Uzi and Romeís Capitoline Museums in terms of artistic prestige.
e opening of Palazzo Ci erio is more than just the completion of a long-delayed project; it is a statement of Milanís role in the global art world. In recent years, the city has seen an explosion of cultural reinvigoration, from the expansion of Fondazione Prada to the rise of contemporary art fairs such as Miart.
With this new addition, Milan has at last given modern art its proper stage, not in a cold white cube or a glass-and-steel tower, but within the walls of history itself. e dialogue between past and present is now complete Bramanteís Renaissance architecture, the dreamlike distortions of Modigliani, the kinetic urgency of Boccioni, all in conversation under one roof.
A y-year journey has ended. e ghost of Palazzo Ci erio has become esh, and Milanís artistic future has never looked brighter.
Natura
Testa di toro
Pablo Picasso
1942
Olio su tela cm 116 x 89
Madre
Maternit‡ Gaetano Previati 1890-1891
comodato Banca Popolare di Milano
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