202408.advertising by The Burlington Magazine

Decorative arts

CELEBRATING 100 YEARS OF ILLUMINATING THE CREATIVE PROCESS

Join us in our year-long celebration of our Centennial with a remarkable line-up of exhibitions, events, and programs. To learn more, visit themorgan.org.

Portrait of a Man in Armour, c.

Recently acquired by the Museo Civico di Bassano del Grappa

JACOPO DAL PONTE , CALLED JACOPO BASSANO (c. 1510–1592)

1560

BUSAN BIENNALE 2024

17TH AUGUST–20TH OCTOBER VARIOUS LOCATIONS, BUSAN

FORMALLY ESTABLISHED IN 2000, Busan Biennale is an amalgamation of the Busan Youth Biennale, an artist-led festival that began in 1981, Sea Arts Festival and Busan International Outdoor Sculpture Symposium. Maintaining its founding principle of promoting locality, the biennale activates various spaces in the city: Busan Museum of Contemporary Art, Busan Modern & Contemporary History Museum, HANSUNG1918-Busan Community Cultural Center and Choryang House.

This year, for the first time, the biennale’s review committee has enlisted two artistic directors, Vera Mey and Philippe Pirotte, following an international open call. Titled Seeing in the Dark, the 2024 biennale presents works of art by sixty-two artists and collectives from thirty-six countries and territories.

The theme and corresponding programmes respond to the notion of ‘pirate enlightenment’, a term coined by the anthropologist and anarchist activist David Graeber in his 2019 book of the same name. Drawing on Graeber’s ideas, the artistic directors ask: ‘what might it mean to see in the dark?’. Challenging Western Enlightenment thinking, they propose alternative cultural and spiritual means of navigating metaphorical darkness. This interrogation of established systems permeates the biennale’s programmes, which include ‘Pirate Panels’ talks, a ‘Pirate Carnival’ performance and a sound project with stations that serve as aural archives.

For more information, visit busanbiennale2024.com

is Political, by

2016–ongoing. Gold-coated albumen print on acid free paper, paint and ink, dimensions variable.

The city we imagine, by Golrokh Nafisi (b.1981) with Ahmadali Kadivar (b.1985). 2020. Performance, duration 40 minutes.

Narratives from the Hadal zone, by Kyung Hwa Kim (b.1969). 2021. Mother-of-pearl and fibre reinforced plastic, 300 by 220 by 220 cm.

Rape

Ashfika Rahman (b.1988).

Did you open the door, or did you find it open for you, by Rajyashri Goody (b.1990). 2023. Paper, ink and porcelain, dimensions variable.

BIAF 2024 Florence

28 September – 6 October

Frans Floris Susanna and the Elders (detail) oil on panel,154 x 181 cm

BUSAN BIENNALE 2024

Portrait of PARK Cha-jeong, by Yun Suknam (b.1939). 2020. Colour pigment on hanji paper, 210 by 94 cm.

Life and Its Double, by Nguyễn Phương Linh (b.1985) and Trương Quế Chi (b.1987). 2021. Installation and performance.

Autoportrait, Molenbeek, by Hélène Amouzou (b.1969). 2009.

Analogue black-andwhite photograph.

17TH AUGUST–20TH

Diva-Goth Singers, by Kim Jipyeong (b.1976). 2023. Three-panel folding screen of mulberry paper and silk on wood, microphone, lace and tassel, dimensions variable.

Untitled, by Ka Young Lee. 2011. Oil on canvas, 100 by 80 cm.

Hail, by Yanghee Lee (b.1976). 2020. Four-channel video and six-channel audio installation, duration 15 minutes 47 seconds.

59 Jermyn Street, London, SW1Y 6LX | info@weissgallery.com | www.weissgallery.com

Katherine Read (1723 - 1778)

Oil on canvas, painted circa 1776 - 1778

(L to R): Alexander, John, Robert, and Jean Beatson, the artist’s nephews and sister

Painted when the artist was based in India towards the end of her life, these four portraits by Katherine Read, Scotland’s ﬁrst professionally trained female artist, depict her sister Jean and three teenaged nephews. These paintings likely rank amongst the artist’s very last works as the Beatsons arrived in Madras in mid-1776 and Read died during her passage home to Britain in 1778. Housed within their original Anglo-Indian frames, and with unbroken family provenance, these newly discovered oil portraits by ‘The Rosalba of Britain’ are now available for sale.

www.printquarterly.co.uk

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NEW & FORTHCOMING

Hippolyte Bayard and the Invention of Photography

Edited by Karen Hellman and Carolyn Peter

This volume, the first English-language book about Hippolyte Bayard, showcases some of the world’s earliest, rarest, and most fragile photographs.

Money in the Air

Art Dealers and the Making of a Transatlantic Market, 1880–1930

Edited by Gail Feigenbaum, Sandra van Ginhoven, and Edward Sterrett

This volume explores the crucial, yet often-overlooked, role of art dealers in creating a transatlantic art market in the late nineteenth and early twentieth centuries.

Picture Worlds

Storytelling on Greek, Moche, and Maya Pottery

Edited by David Saunders and Megan E. O’Neil

This abundantly illustrated volume is the first to explore the painted pottery of the ancient Greek, Moche, and Maya cultures side by side.

The Book of Marvels

A Medieval Guide to the Globe Larisa Grollemond, Kelin Michael, Elizabeth Morrison, and Joshua O’Driscoll

This fascinating volume explores an important fifteenth-century illustrated manuscript tradition that provides a revealing glimpse of how western Europeans conceptualized the world.

Uta Barth Peripheral Vision

Edited by Arpad Kovacs, with contributions by Lucy Gallun and Jeremy Gilbert-Rolfe

This retrospective of contemporary artist Uta Barth’s decades-long career explores the ways in which she uses the camera to investigate sight, perception, light, and time.

New Building in Old Cities

Writings by Gustavo Giovannoni on Architectural and Urban Conservation

Gustavo Giovannoni

Edited by Steven W. Semes, Francesco Siravo, and Jeff Cody; translated by Steven W. Semes

Abundantly illustrated, this critical anthology makes Gustavo Giovannoni’s seminal texts on the appreciation, understanding, and planning of historic cities available in English for the first time.

New titles from the Paul Mellon Centre

Esther Chadwick

The Radical Print

Art and Politics in Late Eighteenth-Century Britain

The Radical Print argues for printmaking in Britain as the most exciting, innovative and critically engaged field of artistic production in the late eighteenth century. Moving the print from the margins to the centre of art history, this new critical study demonstrates how print responded to the acceleration of historical events, the polarisation of public discourse and the sense of a world turned upside down in ways that traditional artistic media could not. In this book, Esther Chadwick assembles a rich array of material, from the period’s best-known prints to unpublished ephemera, revealing print’s dynamic role in one of the most turbulent periods of British history.

HB 9781913107437 | £45

Julia CameronMargaret

The Radical Print

Jeff Rosen

Julia Margaret Cameron

Julia CameronMargaret

The Colonial Shadows of Victorian Photography

Julia Margaret Cameron, the celebrated Victorian photographer, was a child of the colonies. Born in 1815 in Calcutta, she was the daughter of a governing official of the East India Company.

In 1857, Indians rebelled against British rule, and in London, Cameron became absorbed by news of the Uprising. In the aftermath of the revolt, national and imperial politics transfixed England. The impact of the Uprising, and the inspiration of the literary, artistic and political works produced by her circle, influenced her earliest imagery. Through close readings of these photographs this book exposes how Cameron embedded in her work a visual rhetoric of imperial power.

HB 9781913107420 | £45