Now aged 96, Hélène is regarded as France’s most important and passionate dealer of sub-Saharan and Oceanic art, an adventurer and explorer, ground-breaking gallerist and collector, and eminent specialist in Mbembe and Dogon art, ever since her first foray to Dakar in 1952.
Piraeus 1.0 – We boarded Viking Sky at Piraeus port in Athens, so were in harbour over night. I began to notice the blueness and the ‘dome-i-ness’ of my surroundings. Acclimatising my eyes to the change in architecture from North Norfolk.
Still painting late into the night watching the the buildings turn into silhouettes and the blue mountains in the distance fade to smudges.
Koper, Slovenia – Tito Square in Koper has a strong Italian influence and even the language spoken here is part Italian and part Slovene. It was a capital city under the Venetian Republic. I couldn’t paint this journey without including a tourist photographing the magnificent architecture.
This was the sight that greeted us as we approached the Greek island of Santorini. Beautiful coloured buildings above what looked like cave entrances. The town sits on the top of what appears to be a giant rock and is reached by cable car, or donkey for the more intrepid.
In the issue, Lydia Davis shares selections from her 1996 journal, and they often read like warm-up scales for her exquisitely off-kilter stories. (“For lunch—a huge potato and a glass of milk.”) You’ll also find masterful uses of the diary as a fictional device. The Brazilian writer Juliana Leite’s “My Good Friend,” translated by Zoë Perry, is an elderly widow’s apparently unremarkable Sunday-evening entry—“About the roof repair, I have nothing new to report”—that turns into a story of mostly unspoken decadeslong love. And James Lasdun’s “Helen” features excerpts from the journal of a woman who lives in what the narrator describes as a “state of incandescent, almost spiritual horror,” and whose crippling self-consciousness doesn’t protect her from humiliations the reader can see coming.
Also in issue no. 244, John Keene, in an Art of Fiction interview with Aaron Robertson, describes how blogging heralded his recovery as a writer after losing drafts of several of the stories that eventually became Counternarratives. And Sharon Olds, in an Art of Poetry interview, tells Jessica Laser about the need to keep one’s art and biography separate, especially when they are clearly not. Keeping a diary might be therapeutic, Olds explains, but “writing a poem to understand yourself better would be like making a cup with no clay, or maybe like having the clay but not making the cup.” She concludes, “If I had to choose between a poem being therapeutic and it being a better poem, I’d want it to be a better poem.”
Ahead of an exhibition of their work in London in September, we talk to Radiohead’s Thom Yorke and Stanley Donwood—who has created the artwork with Yorke for every Radiohead album since 1994, as well the visuals accompanying Thom’s solo records and side projects including the recent records by The Smile—about their collaboration.
A new work for the UK’s Royal Ballet by the choreographer Wayne McGregor premieres at the Royal Opera House in London on 9 June. Untitled, 2023 is a collaboration with the Cuban-American artist Carmen Herrera, developed before Herrera’s death last year at the age of 106. We talk to McGregor about the piece and the intersection between visual art and choreography.
And this episode’s Work of the Week is one of the most famous pictures in the world: Arrangement in Grey and Black, better known as Whistler’s Mother, by James Abbott McNeill Whistler. It’s part of an exhibition called The Artist’s Mother: Whistler and Philadelphia, curated by Jenny Thompson, and we speak to Jenny about the work and the show.
Opening in June 2023, the blockbuster Melbourne Winter Masterpieces® exhibition Pierre Bonnard presents the iridescent paintings of Bonnard within immersive scenography by Paris-based designer India Mahdavi
Pierre Bonnard (3 October 1867 – 23 January 1947) was a French painter, illustrator and printmaker, known especially for the stylized decorative qualities of his paintings and his bold use of color. A founding member of the Post-Impressionist group of avant-garde painters Les Nabis, his early work was strongly influenced by the work of Paul Gauguin, as well as the prints of Hokusai and other Japanese artists. Bonnard was a leading figure in the transition from Impressionism to Modernism.
Ashmolean Museum – Oxford University
The Japanese collection is now best known for its ceramics, in particular the collection of seventeenth- and eighteenth-century export porcelain which is one of the most comprehensive collections in the world. Ceramics for the Japanese market are also well represented, including fine examples of Arita, Nabeshima and Hirado porcelain, tea ceremony wares and Kyoto earthenwares.
The eminent history and personal connection of these tables and lamps to the artist and one of his dearest friends echo the oeuvre of Diego Giacometti itself— a sumptuous and timeless universe in bronze filled with the unique character and artistic prolificity of a true poet.
The featured ”Racine” Guéridon in particular figures as one of Diego’s most rare and original creations in bronze. The piece shows the sculptor’s prowess at skillfully adapting an organic motif into a strikingly abstract and perfectly balanced composition, which is simultaneously sculptural in its intent and highly functional.
Trieste, Italy
“Migratory Series”
JUNE 2023
Dominic Besner’s creative work is based on a mixed technique on canvas. He has a preference for oil sticks and their rich palette of colours as well as acrylic paint, structural mortar, china marker and aerosol paint. In addition to these materials, he uses a technique of application by the fingers and scraping of the canvas.
Stephen Tomlin, the Bloomsbury group’s primary sculptor, immortalised the faces of Bloomsbury’s best-known characters, including Duncan Grant, Lytton Strachey and Virginia Woolf. With inexhaustible charisma, disarming good looks and undeniable talent, Tomlin captivated his contemporaries, and references to Stephen ‘Tommy’ Tomlin pepper countless biographies of 20th century figures.
However, until recently, that was where his story remained. Now, this exhibition aims to return Tomlin to the artistic spotlight where he belongs.
Intellicurious 