Art
Connecting with Humanity in the Paris Catacombs
PARIS — We rarely experience the oceanic sensation of our bodies as continuous and equal with all other humans.
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PARIS — We rarely experience the oceanic sensation of our bodies as continuous and equal with all other humans.
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PARIS — In his prescient book Black Sculpture (1915), Carl Einstein describes certain transcendent examples of African sculpture as a form of “fixed ecstasy.”
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PARIS — Climats Artificiels at the Espace Fondation EDF is an impertinent and multigenerational group show of contemporary art — heavy on miniature biosphere mockups — that raises the question of the current value of ironic artificiality.
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PARIS — With Eros Hugo: Between Modesty and Excess, the Maison Victor Hugo offers up a fervent paradox: how can an author lead a bawdy and risqué lifestyle while handling the subject of sex prudishly in his virtuosic writings?
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VERSAILLES, France — In curator Béatrix Saule’s extensive exhibition Le Roi Est Mort (“The King Is Dead”), the Palace of Versailles is presenting a shaggy-dog narrative about the death of Louis XIV.
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PARIS — Like a good student of the bottomless pit of fashion, Ai Weiwei has delivered big on his latest class assignment.
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PARIS — Wifredo Lam’s hot, hybrid style is essentially spiky.
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PARIS — With electronic digital simulacra, there is no longer a spent nostalgia for natural semblance: Warholian reproducibility is the fundamental logic and code of our information society.
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PARIS — Though once fêted as a glamorous Parisian queen of the libertine, bohemian art world, Leonor Fini (1907–96) has been sliding ever since toward obscurity.
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PARIS — Karel Appel would start drawing by shimmering bright muck or line around until it eventually formed into semi-abstract philosophical lava, or monkey shit, or the poetry of release.
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PARIS — Perhaps out of a kindred permissive, libertine spirit, prostitution — both chic demi-mondaine and lascivious, pierreuse street-walker style — played a central role in the nascent development of modern painting.
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PARIS — Kudos to Ugo Rondinone.