Art
PARIS — The key to Paul Klee’s wonderfully shaped energy is not ironic detachment, as the title of the Centre Pompidou’s current retrospective suggests, but rather the playful and idyllic emotion he transmits through masterly line and dusty color.
Art
PARIS — Jaded neo-pop (one is tempted to say “poop” here) is on view in the Galeries Lafayette’s très kitsch exhibition TP–RAMA, the latest from art-commerce duo of Maurizio Cattelan and Pierpaolo Ferrari, aka TOILETPAPER.
Art
PARIS — In the polyvalent and multilayered drawings of André Masson, you can sense a free hand in love with its own movement, but not with itself.
Art
PARIS — Henri Rousseau is art history’s best-known naïf painter.
Art
Venus Over Manhattan is sparely hung, dimly lit, and cavernous. The mood is somber, appropriate to 1% big money ventures and for contemplating 18 versions of Andy Warhol’s sinister “Little Electric Chair” (1964) canvases.
Art
PARIS — In Carambolages, currently at the Grand Palais, we are plunged into the big, fuzzy, ahistorical world of anti-categories typical of the networked global economic order.
Art
PARIS — An uplifting yet melancholy poetry pervades Ken Matsubara’s show at Galerie Eric Mouchet, Hou-Chou, Releasing Birds, through the flickering of endlessly looped moving images that suggest shadowy ghosts.
Art
PARIS — Conversations about art and medium-specificity are almost always conversations about history.
Art
PARIS — Poignancy pervades A Working Eye, the first comprehensive retrospective of François Kollar’s Constructivist-style photography that, through nuanced grays and deep blacks, dramatized French workers’ empowerment.
Art
PARIS — Galerie Georges-Philippe et Nathalie Vallois has launched a chic additional space wth a historical show of Jacques Villeglé and Raymond Hains’s abstract, 35mm animated film “Pénélope” (1953).
Art
PARIS — Anselm Kiefer’s swashbuckling, material-laden, paint-encrusted canvases and “alchemical” vitrines supposedly transport us into thick intellectual zones of passion for German history and land.
News
The acclaimed writer James Baldwin moved from New York to Paris in 1948 and then to Saint-Paul de Vence in the south of France, where he eventually died with his longtime lover, the obscure Swiss painter Lucien Happersberger, at his side.