Let’s look briefly at a few other dimensions of the new third volume of John Richardson’s ongoing biography of Picasso:
I think it’s a safe bet that Richardson will be the last of the line of Picasso biographers who knew him personally, a line that includes Roland Penrose, Pierre Daix and even Francoise Gilot, Picasso’s companion from …
Norman Mailer in 1948 — Photo: Library of Congress. Photographer: Carl Van Vechten
I don’t regularly review books at Time or discuss writers on this blog, but I don’t think anyone needs to wonder why I would make an exception for this guy.
Scenes from east frieze of the Parthenon, circa 438-432 BC — Elgin Collection/The British Museum
Let’s finish up that conversation with the director of the British Museum.
LACAYO: Do you worry about the future of what’s sometimes called the universal museum, the museum, like your own, that features objects from as many cultures as …
Diamond (Blue), Jeff Koons, 1994-2005 — Photo: Christie’s
That big blue Jeff Koons diamond, the one that’s sitting outside of Christie’s this week as a kind of carnival barker for their upcoming postwar and contemporary sales — is it looking just a little ironic today? As you may have heard, everybody in the art marketing …
Girl Before A Mirror, Picasso, 1932 — Museum of Modern Art, New York
Yesterday I laid out the broad themes of the new third volume of John Richardson’s ongoing biography of Picasso. Over the next day or two I want to look at a few of his topics a little more closely.
It’s a truism of Picasso studies, and also a truth, that his art …
Marble metope from the south face of the Parthenon/circa 440 B.C. — Photo: Elgin Collection/British Museum
Let’s continue that conversation about the Elgin marbles with the director of the British Museum.
LACAYO: Your museum has repeatedly taken the position that it will not discuss even the possibility of a temporary loan of some of …
I recently finished reading A Life of Picasso: The Triumphant Years: 1917-1932, the third volume of John Richardson’s definitive biography, which hits stores this week. This is a massive, intricate project, and to do it justice seemed to call for something longer than a quick on-line review. So I’m going to work my way through it this …
Figure of Iris from the west pediment of the Parthenon, Fifth century B.C. — Photo: Elgin Collection/British Museum
In London last week I sat down for a conversation with Neil MacGregor, the director of the British Museum. I had just paid a visit to the New Acropolis Museum in Athens, so this seemed like a good time to talk with him …
I’ve been watching the price of oil nudge up towards $100 a barrel over the past few weeks, which reminded me that I wanted to put in a word for what looks likely to be an interesting show opening Wednesday at the Canadian Centre for Architecture in Montreal. “1973: Sorry, Out of Gas”, which was co-curated by by the CCA’s Director Mirko …
Figure of Iris from the west pediment of the Parthenon, circa 430 B.C. — Photo: Elgin Collection, British Museum
In London last week I sat down for a conversation with Neil MacGregor, the director of the British Museum. Having just paid a visit to the New Acropolis Museum in Athens, this seemed like a good time to talk with him …
Alison Lapper Pregnant/Marc Quinn/2005 — Photo: Dan Chung
Here’s a quick link to my piece about Martin Puryear in the new issue of Time. Now on to other things.
The first thing — a few months ago I was wondering in this space whether it might not be a good idea for the U.S. to have something like Britain’s Turner Prize, the award …
Maroon/Martin Puryear, 1987-1988 Photo: Milwaukee Art Museum
Before we get back to things in London, let’s wrap up that interview with Martin Puryear, whose retrospective opens this weekend at the Museum of Modern Art.
LACAYO: You’ve spoken about how the most impressive things you saw while in the Peace Corps in Sierra Leone were the …
Lever #3/Martin Puryear, 1989 Photo: McKee Gallery, New York
Here’s a continuation of that interview with Martin Puryear on the eve of his MoMA retrospective.
LACAYO: I think of your work as post-Minimalist in the way of Eva Hesse’s. She started with the simplifications of form that Minimalism offered but saw a way to use simplified …
