Rediscovering a Conceptual Photographer Tseng Kwong Chi
The Louvre’s Couture Renaissance Fashion Meets Art
The Frick Returns A Cherished Museum Reopens
Cinematic Wonderland The Art of Wes Anderson
Icons of Elegance Tiffany & Co. at Casa Cipriani
THE LIST
Reimagining Tradition
the museum of fine arts, Boston, newly reimagined Arts of Japan galleries, offer a vast collection spanning from the 7th century to today. The renovation has introduced five distinct spaces, including the restored Japanese Buddhist Temple Room, originally opened in 1909 and now home to conserved sculptures like Dainichi, Buddha of Infinite Illumination(1149). Designed to evoke an 8th-century monastic complex, the space fosters a meditative experience. The galleries showcase a diverse array of Japanese art, from paintings and ceramics to Nō masks, swords, and netsuke carvings. Highlights include Ogata Kōrin’s Waves at Matsushima (18th century), an immersive tea room, and multimedia displays of Nō theater. The Japanese Print Gallery hosts rotating exhibitions, beginning with Reworking the Past, which pairs 19th-century ukiyo-e with contemporary prints. Home to the largest Japanese collection outside Japan, the MFA’s transformation provides a fresh perspective on both traditional and modern Japanese art.
Cat Power Sings Dylan
in november 2022, Cat Power delivered a mesmerizing performance at London’s Royal Albert Hall, recreating one of the most iconic live sets in music history. The original 1966 concert, famously mislabeled as the “Royal Albert Hall Concert,” saw Bob Dylan boldly transition from acoustic to electric, sparking both outrage and awe from the audience. Cat Power, aka Chan Marshall, brought her own unique interpretation to the stage, infusing each song with conviction, elegance, and a deep affection. Her rendition transformed the tense, anarchic energy of Dylan’s original performance into a warm, radiant celebration. Now, with the release of the live album Cat Power Sings Dylan: The 1966 Royal Albert Hall Concert, Marshall’s captivating performance pays tribute to Dylan’s enduring legacy while breathing new life into some of his most beloved songs.
The Motherload: A Candid Reckoning with Motherhood
motherhood is often portrayed as a seamless, joyous transformation, but for Sarah Hoover, it was anything but. In The Motherload, she dismantles this myth with raw honesty and dark humor, sharing her struggles with pregnancy, postpartum depression, and the unraveling of her carefully built life. A successful art historian, Hoover had crafted a world she loved—moving from Indiana to New York, building a career, and immersing herself in the city’s culture. But pregnancy shattered her sense of self. Her body felt foreign, relationships strained, and after giving birth, she was consumed by anxiety, shame, and detachment from her son. Only by confronting postpartum depression did she begin to reclaim herself, challenging the impossible standards placed on mothers. The Motherload is a bold, deeply personal story of loss, love, and self-forgiveness—an unfiltered, often hilarious take on the messy reality of motherhood.
Radical! Women Artists and Modernism 1910–1950
the story of modern art has long been told through a male-dominated lens. Radical! Women Artists and Modernism 1910–1950, opening at Lower Belvedere in Vienna this summer, seeks to rewrite that narrative. Showcasing over sixty artists from more than twenty countries, the exhibition highlights bold, boundary-pushing innovations that defined a pivotal era. These women forged new visual languages to capture a rapidly changing world—responding to war, political shifts, and technological advancements with striking creativity. They reimagined identity, challenged social norms, and infused daily life with radical Modernist aesthetics. Radical! restores these artists to history while expanding our understanding of Modernism itself.
Waves at Matsushima, 18th century Ogata Kôrin (Japanese, 1658-1716)
Six-panel folding screen; ink, color, and gold on paper Fenollosa-Weld Collection
HOW A POSTMAN AND HIS FAMILY BECAME THE HEART OF VAN GOGH’S MOST PERSONAL MASTERPIECES.
vincent van gogh’s portraits have become some of the most iconic images in art history. With their bold colors and swirling, almost electric brushstrokes, his works are instantly recognizable, even to those who might not consider themselves experts in art. They’re part of our collective visual language, often reduced to symbols of “Van Gogh-ness” in a world awash with his Starry Nights and Sunflowers. But behind the artist’s singular style and unmistakable signature lies a lesser-known truth: the stories of the people he painted, the relationships that informed his art, and the moments of intimacy that shaped these masterpieces.
The Roulin family—Joseph, a postman; his wife, Augustine; and their three children, Armand, Camille, and Marcelle—were not just subjects for Van Gogh. They were neighbors, friends, and in many ways, a surrogate family during a pivotal and turbulent period in the artist’s life. Van Gogh’s deep connection to the Roulins and his groundbreaking portraits of them are at the heart of Van Gogh: The Roulin Family Portraits, an extraordinary exhibition
that brings together around 20 of his works. Running now at the MFA and organized in partnership with the Van Gogh Museum in Amsterdam, the show unites paintings from Amsterdam, Paris, New York, and Chicago for the first time, offering a rare opportunity to not only marvel at Van Gogh’s technique but to meet the Roulins themselves.
During his stay in Arles from 1888 to 1889, Van Gogh dreamed of creating a vibrant artistic community in the South of France. But as that vision faltered and his mental health declined, his relationship with the Roulin family became a crucial source of stability and solace. Joseph Roulin, with his bushy beard and unwavering kindness, emerged as a constant presence in Van Gogh’s life. In Postman Joseph Roulin (1888), now part of the MFA’s collection, Van Gogh captured his friend with a combination of dignity and affection. Similarly, Lullaby: Madame Augustine Roulin Rocking a Cradle (La Berceuse) (1889) offers a tender glimpse of Augustine, seen as both an ar-
chetype of maternal care and an individual imbued with strength and warmth.
Though these portraits are instantly recognizable as Van Goghs, the stories of the Roulins themselves often fade into the background. The same is true for many of Van Gogh’s works. We know them by sight—the brushstrokes, the colors, the unrepeatable energy—but how often do we consider the lives behind the faces? The exhibition seeks to change that, offering not only paintings but letters written by Joseph Roulin and additional context about Van Gogh’s creative process and emotional state during this time. By exploring the artist’s bond with the family, the exhibition brings these familiar faces to life, allowing visitors to see not just the paintings but the people behind them.
The Roulin portraits are also a window into Van Gogh’s artistic influences and ambitions. His admiration for Japanese woodblock prints is evident in the flat planes of color and bold outlines that define his style, and the earthy realism of earlier Dutch masters informed his approach to capturing the Roulins’ quiet dignity. These
Camille Roulin, November–December 1888
Vincent van Gogh (Dutch (worked in France), 1853–1890) Oil on canvas
Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation)
Courtesy Museum of Fine Arts, Boston
The Postman Joseph Roulin, 1889 Vincent van Gogh (Dutch (worked in France), 1853–1890), Oil on canvas
The Museum of Modern Art, New York, Gift of Mr. and Mrs. William A. M. Burden, Mr. and Mrs. Paul Rosenberg, Nelson A. Rockefeller, Mr. and Mrs. Armand P. Bartos, The Sidney and Harriet Janis Collection, Mr. and Mrs. Werner E. Josten, and Loula D. Lasker Bequest (all by exchange), 1989
inspirations are explored in the exhibition through carefully curated works that trace Van Gogh’s creative lineage, revealing how he transformed these influences into something entirely his own.
Van Gogh’s relationship with the Roulins took on a poignant significance given his personal circumstances. Despite longing for a family of his own, he never married or had children. Instead, he found comfort in the warmth of the Roulin household, and his portraits reflect that intimacy. The bond he shared with the family is palpable, resonating across time as a testament to the universality of chosen connections. As Laurence Kanter, curator of the exhibition, observed, “The Roulins were not just his sub-
jects—they were his lifeline.”
The exhibition also highlights Van Gogh’s aspirations for a broader community of artists in Arles, a dream that briefly materialized with the arrival of Paul Gauguin. Gauguin’s influence is evident in the work Van Gogh produced during this period, and the exhibition includes key pieces from Gauguin to illustrate the creative crosscurrents between the two artists. Their collaboration, though short-lived and tumultuous, left an indelible mark on Van Gogh’s art.
Van Gogh: The Roulin Family Portraits offers more than a chance to admire Van Gogh’s singular talent— it invites viewers to step into the world of the Roulins, to
see them not as historical footnotes but as living, breathing people who meant the world to the artist. The exhibition pairs the immediacy of Van Gogh’s visual language with the depth of his personal relationships, creating an experience that is as emotional as it is artistic.
This exhibition is not just an exploration of Van Gogh’s artistic achievement; it’s a celebration of the connections that define us. Through these portraits, Van Gogh reminds us that art is more than an image on a canvas— it’s a bridge between the artist, the subject, and the viewer, spanning time, place, and circumstance. In seeing the Roulins through Van Gogh’s eyes, we gain a deeper understanding of both the artist and ourselves.
Lullaby: Madame Augustine Roulin Rocking a Cradle (La Berceuse), 1889
Vincent van Gogh (Dutch (worked in France), 1853–1890)
Armand Roulin, 1888 Vincent van Gogh (Dutch (worked in France), 1853–1890), Oil on canvas Collection Museum Boijmans Van Beuningen, Rotterdam.
Acquired with the collection of D.G. Van Beuningen Courtesy Museum of Fine Arts, Boston
Vectors of Discovery
FROM JAZZ RIFFS TO BOLD BRUSHSTROKES, RESONANCE REFLECTS THE FUSION OF BRANDON DEENER ’S PERSONAL EVOLUTION AND TONY SHAFRAZI’S CURATORIAL GENIUS.
the story sounds simple, and at first glance, it is: an artist and a gallerist visit a series of museums together. The gallerist is Tony Shafrazi, and the artist, Brandon Deener. But to truly grasp the significance of their journey, one must consider Shafrazi’s concept of “Vectors.” To even approach the near-impossible task of fully understanding a work of art, literature, film, artist, or even an idea, one must account for the many vectors that influenced its creation. These might include other films, books, or paintings that existed at the time, as well as the socioeconomic and political climate that shaped the moment of creation.
Contemplating all these factors is a Herculean task—but this very way of seeing has been foundational to Shafrazi from the earliest days of his career. It has given him an uncanny ability to always be in the right place, at the right time, with the right people. And it is precisely this perspective that makes Shafrazi’s decision to champion Deener so fascinating, not just for what it reveals about the artist but for what it tells us about Shafrazi himself.
For over five decades, Shafrazi has been a fixture of the art world, his career punctuated by bold moves and a sharp eye for talent. He was among the first to introduce the world to the rebellious brilliance of Keith Haring and Jean-Michel Basquiat and the force behind groundbreaking exhibitions that redefined art markets. His life
is marked by a keen ability to identify and cultivate creative voices that challenge conventions, making his collaboration with Deener not only significant but inevitable.
Deener’s debut international exhibition, Resonance, recently on display at Galerie 75 Faubourg in Paris, was presented by Tony Shafrazi / Gallery Without Walls and Doriano Navarra / Galerie Enrico Navarra as his first solo exhibition in the city, featuring 15 large-scale oil paintings that exemplify the kind of raw, transformative talent Shafrazi has always championed. Born from Deener’s remarkable journey from music producer to visual artist, the exhibition represents a fusion of pain, resilience, and inspiration. For Deener, art became a lifeline following a period of profound personal loss. What began as a channel for grief evolved into a practice of faith and discovery, culminating in a body of work that bridges the visual and auditory worlds.
Jazz, a cornerstone of Deener’s creative ethos, runs like a heartbeat through Resonance. The improvisa-
Tony Shafrazi poses next to the broken front window of his gallery (163 Mercer Street), New York, New York, October 16, 1981. (Photo by Allan Tannenbaum/ courtesy of Tony Shafrazi)
Below: Brandon Deener in front of / devant Francis Bacon, Triptych May-June 1973 / Triptyque
Soprano and Tenor, 2024
Acrylic wash, acrylic, spray paint, pigment stick, and oil on canvas / Lavis acrylique, acylique, penelo, gon
tional spirit of jazz shapes Deener’s process, as he begins each painting with a spark of inspiration and lets it evolve organically. His works, like Sketches of Miles and Soprano and Tenor, reflect the dynamism and vibrancy of the music that inspires them. A hyper-realistic portrait of Miles Davis captures the intensity of the musician’s presence, while his ode to John Coltrane balances graffiti textures with a lyrical fluidity reminiscent of a saxophone solo.
For Shafrazi, the parallels between jazz and painting were a natural fit for Deener’s artistic journey. Comparing Deener’s method to a jazz riff, Shafrazi notes, “Players create an inspired melodic tune that comes from the particular nature of their instruments, and the sounds that they come up with, totally new, become the signature
Gummy Kisses, 2015 Acrylic on canvas / Acrylique sur toile
Statuesque,
identity of a new star being born.”
“I think the biggest thing that I’m trying to do with my work is to just create space for Black people to just be, without explanation.”
—Brandon Deener
But Deener’s journey isn’t just about creation; it’s also about education. In the summer of 2023, Shafrazi organized a transformative trip across London and Paris for Deener, his partner India, and filmmaker Nico Ballesteros. For an artist without formal training in art history, the journey exposed Deener to the monumental works and cultural landmarks that have shaped Western art. This immersion into the canon became a turning point, broadening his artistic horizons and deepening his practice.
Upwards,
“After the trip, [Deener] came away with a greater vision of history, a greater vision of life, and a greater conception of what [his] art could address,” Shafrazi observed. The result is a body of work that feels both deeply personal and broadly universal. Through Resonance, Deener pushes the boundaries of Afrofuturism, reclaiming and reimagining cultural icons with a style that marries meticulous detail with bold expression. Each painting hums with the energy of improvisation, yet remains firmly rooted in a tradition that celebrates innovation.
Resonance isn’t just an exhibition; it’s a reflection of the shared vision between an artist and a gallerist. For Shafrazi, it represents another chapter in his lifelong mission to nurture bold, boundary-pushing talent. For Deener, it’s an invitation to engage with the world through the universal language of art and music. And for those who stand before his canvases, it’s a reminder that, in the silence, there is always a rhythm waiting to be heard.
Love Is Kind, 2017 Acrylic and pencil on canvas / Acrylique et crayon sur toile 25 x 25 in / 63,5 x 63,5 cm
“I’m really inspired by the idea of Sankofa, which is a West African concept that encourages us to go back and retrieve our past in order to move forward.”
—Brandon Deener
few photographers have managed to embed themselves in the cultural consciousness as profoundly as Lawrence Schiller. Known as much for his unfaltering eye as for his uncanny knack for being in the right place at the right time, Schiller became a defining chronicler of the 1960s, a decade brimming with transformation, rebellion, and iconoclasm.
Eyes of the SIXTIES
LAWRENCE SCHILLER
Schiller’s photographs feel less like static images and more like portals into the zeitgeist of an era. From his searing portraits of cultural icons like Marilyn Monroe and Robert F. Kennedy to his documentation of watershed moments in history, his lens bore witness to the shifting sands of American identity and ambition. “To me, the camera was a license to ask questions,” Schiller once said. “And I never stopped asking.”
Schiller’s portfolio reads like a compendium of the 20th century’s most significant personalities. There’s Marilyn Monroe, lounging by the pool during the filming of Something’s Got to Give, her image radiating both the mystique and fragility that have cemented her legacy. There’s Robert F. Kennedy, mid-campaign, embodying the hope and tragedy of a nation on the cusp of upheaval. And then there are the photographs of Muhammad Ali, whose
fists and convictions would shake the world, captured with the reverence of someone who understood he wasn’t just shooting a boxer but a legend in the making.
But Schiller’s work wasn’t limited to luminaries. He was on the ground during some of the most pivotal cultural shifts in American history—the Watts riots, the trial of Lee Harvey Oswald’s killer, Jack Ruby, and the Apollo space missions. His images of these events do not merely document; they distill. They serve as visual shorthand for the complexities of the era—its conflicts, aspirations, and contradictions.
Born in Brooklyn in 1936 and raised in San Diego, Schiller’s beginnings as a self-taught photographer hint at his lifelong commitment to instinct over artifice. His early assignments for Life, Time, and Paris Match quickly set him apart as a photographer who didn’t just shoot what he
saw but what others failed to notice. That ethos carried over into his collaborations with Norman Mailer, including the seminal book Marilyn: A Biography. Schiller’s recollections of Monroe’s final months, paired with his haunting photographs of her, add an intimate layer to her endlessly dissected mythology. Beyond photography, Schiller’s career sprawled into filmmaking and publishing, proving his ability to adapt his storytelling instincts across mediums. He co-directed documentaries, including The American Dreamer, and brought his keen visual sensibility to collaborations with major Hollywood studios. Yet even as he shifted focus, his photographs remained a central touchstone of his creative legacy.
In a world saturated with imagery, Schiller’s photographs remind us of the power of being truly present—of understanding that the photograph isn’t just about what’s in the frame but the cultural, emotional, and political ripples beyond it. He wasn’t merely documenting the 1960s; he was helping to shape how we would come to remember them. As Schiller himself has said, “A good photograph is not just about what you see, but how it makes you feel about what you’ve seen.”
HOW THE GRATEFUL DEAD SHAPED THE FUTURE OF LIVE ENTERTAINMENT
it began in darkened warehouses and borrowed spaces, where walls pulsed with oil-drenched projections and music existed without a clear beginning or end. The Grateful Dead weren’t yet the Grateful Dead— they were simply a band playing to an audience that wasn’t just watching, but dissolving into the experience. These were Ken Kesey’s Acid Tests, the earliest experiments in live music as total immersion, where sound, color, and movement blurred into something beyond entertainment. They weren’t just concerts. They were portals.
The Acid Tests were a series of gatherings held by author and countercultural icon Ken Kesey and his Merry Pranksters in the mid-1960s, designed to explore the mind-expanding effects of LSD through a fusion of music, visual art, and spontaneous performance. More than just a party, the Acid Tests were an experiment in perception, an attempt to dissolve the barriers between performer and audience, between sound and vision, between the self and the collective. The Grateful Dead—then a fledgling group still finding its sound—became the house band for these events, providing a live soundtrack to an environment where reality itself seemed to bend and blur. “Suddenly they were plugged into a whole other reality,” wrote Tom Wolfe in The Electric Kool-Aid Acid Test. “It was not just electricity they were playing with but the very fabric of the senses, of perception itself.”
The Dead learned in real time how to play to the chaos, stretching their songs into uncharted space, responding not just to each other but to the energy of the room, the swirl of color and light, the shifting collective consciousness of the crowd. It was music as an ecosystem, a living thing shaped by the environment around it.
That idea—music as something alive, something that could only fully exist in the moment—would define
the band for the rest of their career. While the record industry focused on capturing music in its final form, the Dead saw the live experience as the only version that truly mattered. Songs were never played the same way twice. No two nights were alike. The show was something bigger than just the musicians on stage; it was an interplay between sound, space, and audience, a continuous, evolving collaboration between the band and those who came to listen.
It was an approach that would become legend, giving rise to the culture of tapers, the sharing of bootlegs, the endless debate over the best versions of “Dark Star.”
The Dead weren’t just performing—they were building a model for what live music could be: a fully immersive, deeply communal experience where the moment itself was the art. Over time, that vision expanded beyond music. The shows became sensory landscapes, with lighting and visual production evolving in tandem with the music, transforming arenas and stadiums into places where time and reality felt elastic.
Today, that instinct for immersion has reshaped the way we experience entertainment. Nowhere is that clearer than at The Sphere in Las Vegas, where Dead & Company have found the most complete realization of the Acid Test dream. The Sphere isn’t just a venue—it’s a full sensory world, a seamless 16K LED screen that envelops the audience in stunning, hyperreal imagery. “If the Acid Tests had the tools we have now, they’d have built The Sphere,” said music historian Jesse Jarnow. “This is what they were reaching for—total, mind-expanding immersion.” Inside, planets orbit overhead in perfect synchrony with the music, fractals expand and dissolve, and color bursts into motion in ways that defy expectation. It is the full-circle realization of those first Acid Tests, where the
dream of total immersion was first imagined but never fully realized—until now.
Even from the outside, The Sphere pulses with a hypnotic presence. Its massive curved surface glows with surreal, high-definition imagery that can be seen for miles. “It doesn’t just project visuals—it radiates them,” said critic David Fricke. “It’s the ultimate version of the Dead’s idea that a show isn’t just what happens on stage—it extends outward, into the city, into the culture itself.” It’s an extension of the Dead’s long-held belief that music doesn’t have to exist within fixed boundaries—that the experience can wrap around everyone, inside and out.
For decades, the Dead have been at the center of a movement that reshaped how live music is experienced. Their influence can be seen in the rise of visual storytelling at concerts, in the way lighting and production have become as essential as the sound itself, in the push toward environments that are not just backdrops but active, evolving spaces. The Acid Tests were never meant to be one-night experiments. They were blueprints for something bigger, for a way of seeing performance as something limitless, something immersive, something alive.
At The Sphere, that vision is fully realized. The Grateful Dead’s music has always been about movement— songs stretching and shifting, no two versions ever played the same way twice. Now, the experience itself mirrors that same constant transformation. Inside, outside, above, below—the show no longer exists in a single direction. It happens everywhere, all at once. “We always knew this was the goal,” Weir said. “We were just waiting for the world to catch up.” The trip they started in 1965 is still going, still expanding, still unfolding into something no one could have predicted. And maybe, just maybe, it’s only getting started.
JAMES MANGOLD’S OSCAR-NOMINATED BIOPIC BRINGS US TO DYLAN’S FORMATIVE YEARS IN THE VILLAGE AND THE CULTURAL MOMENT THAT SHAPED HIS DESTINY
(Photo by Michael Ochs Archives/ Getty Images)
View, from behind, of American musician Bob Dylan as he plays acoustic guitar during a performance at the Newport Folk Festival, Newport, Rhode Island, July 1963. Audience members sit on the grass of the tennis court at the ivy-covered buildings of the Newport Casino (later the National, and then International, Tennis Hall of Fame). (Photo by Rowland Scherman/Getty Images)
Image courtesy of Searchlight Pictures
“destiny is a feeling you have that you know something about yourself nobody else does. The picture you have in your own mind of what you’re about WILL COME TRUE. It’s a kind of a thing you kind of have to keep to your own self, because it’s a fragile feeling, and you put it out there, then someone will kill it. It’s best to keep that all inside.” These words, famously attributed to Dylan, are rare windows into the enigmatic artist’s psyche. He has spent decades speaking obliquely about his life, lyrics, and art—when he’s spoken at all. Fans, scholars, and admirers have obsessively dissected every line, gesture, and fleeting comment, in search of some “rosebud” moment that might crack the code of one of the 20th century’s most inscrutable figures.
This relentless quest for meaning sets the stage for A Complete Unknown, director James Mangold’s ambitious new biopic about Dylan’s early days. The film, already with eight Oscar nominations, including Best Picture and Best Actor for Timothée Chalamet, dives into the swirling energy of the early 1960s—a time when Dylan, barely out of his teens, arrived in New York City with
a borrowed name, a borrowed voice, and a hunger that would reshape American music forever.
Capturing such a seismic period required Mangold to do more than just tell Dylan’s story—it meant recreating the cultural moment he stepped into, a world in flux where folk music was both protest and tradition, and the stakes were as high as they were personal. For Mangold, who has earned a nomination for Best Director, the challenge lay in contextualizing not only the Greenwich Village folk scene but also Dylan’s uncanny ability to both belong to it and stand apart. His ascent wasn’t just about talent; it was about timing, instinct, and the quiet yet unmistakable conviction of someone who saw his destiny, even as he kept it hidden.
Then there’s the monumental task handed to the cast, led by Chalamet in the role of Dylan. Dylan is no ordinary character to embody—his voice, mannerisms, and even his silences are iconic. The actors portraying the constellation of figures in his orbit—including Edward Norton as Pete Seeger and Monica Barbaro as Joan Baez, both of whom also received nominations—faced similar chal-
lenges: how to step into the shoes of artists whose identities are larger than life without veering into caricature. Chalamet’s portrayal has been particularly anticipated, not just for his acting chops but for the sheer audacity of taking on a man whose very existence resists definition. Early glimpses and critical acclaim suggest a performance that captures the contradiction of Dylan: magnetic yet guarded, self-assured yet elusive, deeply inspired but never fully knowable.
A Complete Unknown isn’t just a biopic—it’s a meditation on the mythmaking that surrounds Dylan, a man who once declared that he didn’t “look back” but has spent a lifetime being analyzed through the rearview mirror. By exploring this pivotal time in Dylan’s life, the film invites viewers to step into his world while simultaneously acknowledging the impossibility of truly understanding him.
In doing so, Mangold and his cast have given fans not a definitive answer, but something more meaningful: a reminder that Dylan’s allure lies in the very questions he leaves unanswered.
Joan Baez and Bob Dylan performing at the Newport Folk Festival at Freebody Park on Rhode Island, USA, 23rd-26th July 1964. (Photo by Gai Terrell/ Redferns/Getty Images)
the national portrait gallery’ s recent exhibition on Francis Bacon is a visceral, unflinching dive into the twisted world of one of the 20th century’s most notorious painters. Bringing together over 50 works, including some of Bacon’s most iconic and rarely-seen pieces, this show has been a must-see for anyone fascinated by the darker corners of the human experience.
Bacon’s art is like nothing else. His contorted, elongated figures, screaming popes, and grotesque, fleshlike bodies seem to writhe and twist on the canvas, as if
alive. It’s an art that’s both deeply unsettling and utterly compelling, like a magnificently horrible wreck that you can’t look away from.
The exhibition was a journey through Bacon’s life and work, from his early, more tentative pieces to the bold, nightmarish visions of his later years. We see his fascination with the human body, distorted and inverted into impossible shapes, and his obsession with the works of Velázquez, whose portrait of Pope Innocent X Bacon reworked and reinterpreted in some of his most famous pieces.
Portrait of Innocent X (c. 1650). Oil on canvas, 141 × 119 cm (56 × 47 in). Galleria Doria Pamphilj, Rome
“Bacon does not paint the horror of life, he simply shows life, which is horrifying.”
— Jean-Paul Sartre (philosopher)
Velázquez’s portrait of Pope Innocent X, painted in 1650, is a masterpiece of Baroque art, renowned for its captivating and enigmatic depiction of the Pope. Many viewers who have taken in this image of the Pope are left with a sense of dread, horror and perhaps even a sense of menace. Bacon was deeply fascinated by this portrait, and his own versions of the Pope’s screaming face are some of his most iconic works.
Bacon’s obsessive engagement with Velázquez’s portrait led him to excavate the underlying emotions and anxieties that simmer beneath the surface of the painting. By reworking and reinterpreting the Pope’s image, Bacon aimed to unleash the darker forces that he believed lay hidden beneath the veneer of civilized humanity. In doing so, he created a series of works that are both deeply person-
al and universally relatable, speaking to our own deepest fears and anxieties.
Bacon’s influence extends far beyond the art world. Filmmaker David Lynch, for example, has cited Bacon as a major influence on his work. Lynch’s films often feature distorted, surreal landscapes and twisted, nightmarish creatures, echoing the sense of unease and discomfort found in Bacon’s paintings. Fashion designer Alexander McQueen was also deeply influenced by Bacon’s work, incorporating elements of his twisted, organic forms into his designs. McQueen’s runway shows often featured models with distorted, elongated bodies, reminiscent of Bacon’s own contorted figures. This shared fascination with the darker side of the human condition highlights the enduring power of Bacon’s art to inspire and unsettle.
NPG x13707, Francis Bacon, 1967 by J.S. Lewinski
The Lewinski Archive at Chatsworth / Bridgeman Images
“Bacon’s paintings don’t illustrate reality; they generate their own.”
— Lucian Freud (painter and Bacon’s friend/rival)
As Bacon himself once said, “I’m not interested in illustrating my thoughts; I’m interested in producing a particular emotional state in the viewer.”
As art critic and curator, Robert Hughes, once noted, “Bacon’s paintings are not just images, they are events. They happen to you, and they happen in your mind.” Similarly, artist and writer, John Berger, observed that “Bacon’s paintings are a form of testimony, a testimony to the darkness that lies at the heart of human experience.”
A Vision for the Future
MARIËT WESTERMANN AT THE HELM OF THE GUGGENHEIM
When Mariët Westermann stepped into her role as the Director and CEO of the Solomon R. Guggenheim Museum and Foundation, she didn’t just make history—she embraced it. As the first woman to lead the institution in its entirety, Westermann follows in the footsteps of trailblazing visionaries who shaped the museum into a powerhouse of modern and contemporary art.
An acclaimed art historian and leader in cultural institutions, Westermann brings a global perspective honed through her work with the Andrew W. Mellon Foundation, New York University Abu Dhabi, and the Clark Art Institute. Her scholarship on Dutch and Flemish art has deepened the discourse on artistic movements of the past, but her gaze is firmly set on the future.
bollettino: As the first woman appointed as Director and CEO of the Solomon R. Guggenheim Museum and Foundation, what unique perspectives do you bring to the role, and how do you plan to address the evolving challenges facing art institutions today?
In this exclusive interview, Westermann shares her vision for the Guggenheim: expanding inclusivity, harnessing technology, and ensuring that the museum remains a space where art challenges, inspires, and connects people across generations. From groundbreaking exhibitions on Mondrian and Orphism to the much-anticipated Guggenheim Abu Dhabi, she discusses how the institution is evolving while staying true to its DNA of innovation and bold artistic inquiry.
As the art world faces shifting cultural landscapes and digital revolutions, Westermann is determined to keep the Guggenheim at the forefront—an enduring beacon of creativity in an ever-changing world.
mariët westermann: As the first woman to lead the Guggenheim constellation in its entirety, I am grateful to the great women— Hilla Rebay and Peggy Guggenheim—who were driving forces in creating the Guggenheim as we understand and experience it today. As an art historian, I value the interplay of change and continuity that the Guggenheim embodies and represents, along with its commitment to inclusion, environmental sustainability, and access that is essential in today’s world. While the role of museums continues to evolve, my focus is on expanding the range of voices and perspectives we welcome and present. I would like us to leverage our digital and social tools better to engage our global audience and ensure that the Guggenheim continues to deliver on its inspiring public mission to connect all kinds of people to great art
Mariët Westermann, Director of the Solomon R. Guggenheim Museum and Foundation Photo: David Heald
Rendering of the Frank Gehry-designed Guggenheim Abu Dhabi. Courtesy: Gehry Partners, LLP
and each other in beautiful places. The museum is a space where art and artists can help us see and discuss contemporary issues such as climate change or belonging. I also am eager to make sure that the Guggenheim continues to push boundaries, supports innovative artists, and creates transformative experiences of art for generations to come.
bollettino: Tell us how the museum’s current exhibitions on Orphism and Mondrian reflect your vision for the Guggenheim’s future.
mariët westermann: The exhibition on Orphism in Paris, 1910-1930, a spectacular presentation in our iconic Rotunda designed by Frank Lloyd Wright, was planned long before I arrived, and I was thrilled that a quarter of the paintings and sculptures in it have been part of the Guggenheim’s collection since its early development. Wright would have known them when designing the building. Our collection of great Modern art is our DNA and sets us apart, and one of my goals has been to show more of it than we have been able to do in recent years. By coincidence, during a visit to our storage facilities last summer, I discovered we had even more paintings and drawings by Piet Mondrian than I had known, including the two only original sketchbooks, and that we had never shown all of these works together. As Mondrian worked in a Dutch village, I lived in growing up, it felt serendipitous for me to curate this show early in my tenure at the Guggenheim. The exhibition, Piet Mondrian: Ever further, marks the first in a new series titled Collection in Focus, of presentations that will be drawn from the Guggenheim’s storied holdings.
bollettino: “How do you see the museum’s legacy of innovative architecture, embodied in Frank Lloyd Wright’s iconic New York building, informing its future expansion, particularly with the forthcoming Frank Gehry-designed Guggenheim Abu Dhabi, and what opportunities do you envision for the museum’s global presence and artistic programming?”
mariët westermann: Our famous building in New York is one of only two UNESCO World Heritage sites in the city—the other being the Statue of Liberty. The shared distinction is no coincidence: both are striking works of sculpture and architecture at once, and of enduring universal value to our shared humanity. The Frank Lloyd Wright
Rotunda is a symbol of architectural innovation and a cornerstone of the Guggenheim’s identity. Thanks to our founders, we have always embraced the idea of breaking conventions and challenging traditional boundaries. The Guggenheim Bilbao is a similarly unique and inspiring building, designed by Frank Gehry. As we look to the future, particularly with the upcoming Guggenheim Abu Dhabi also designed by Gehry, we intend to maintain this legacy of innovative architecture that creates spaces where all people can have transformative experiences of art. In Abu Dhabi, we will not only showcase contemporary art but also engage with the rich context of this crossroads country, fostering intercultural dialogues. This newest star in our constellation will offer an exciting platform from which to amplify our global art programs, ensuring that the Guggenheim remains a vital and dynamic force in the cultural landscape locally and internationally.
bollettino: “As museums have historically been linked to innovations in technology, from the Great Exhibition of 1851 in London to the present day, what is your outlook on the Guggenheim embracing and reflecting the rapid technological
advancements of our time, and what initiatives or exhibitions can we expect to see under your leadership that will showcase the intersection of art and technology?”
mariët westermann: The Guggenheim has a great history of exploring the intersection of art and technology, including collaborating with artists who are using new technology, as Jenny Holzer did with a stunning LED sign scrolling up the Rotunda back in 1989 that she revived with a new AI component last year. My goal is to ensure that the Guggenheim remains at the forefront of the art of our time, offering innovative experiences that enrich the way we engage with contemporary art and the future of creative practice. Our ongoing LG Guggenheim Art and Technology Initiative exemplifies this commitment. This five-year, multifaceted collaboration with LG recognizes, celebrates, and supports artists who are leveraging and expanding technology as an ever evolving medium.
bollettino: In an increasingly interconnected world, where visual literacy and immersive experiences have become a shared global language, how do you see the Guggenheim’s portfolio of museums evolving to meet the changing expectations of diverse audiences, and what role do you see the museum playing in shaping and reflecting our collective visual culture?”
mariët westermann: Artists and museumgoers alike are motivated by their own curiosity. I foresee that the Guggenheim will continue to adapt to the public’s imaginative expectations of what art can be. We want to support our visitors’ interest in participating in art as a fount of creativity and insight and an enduring resource to society – whether in any of the four beautiful buildings in our constellation or in our online offer. With the rise of immersive and technology-forward exhibitions, there is no limit to the stories people can tell with and through the art we collect, preserve, and present. By responding to the evolution of contemporary art, technology and social discourse, the Guggenheim will remain a vital cultural hub for relevant conversation. We will continue to inspire future artists and museum goers – ever further.
When one thinks of Piet Mondrian, immediate images come to mind—those iconic grid masterpieces defined by bold black lines and panes of red, yellow, and blue. For many, these geometric compositions symbolize the artist’s identity. Yet, these were not merely aesthetic experiments; they were the culmination of a lifelong quest to articulate a universal visual language. Now, the Guggenheim Museum invites us to trace this journey in Piet Mondrian: Ever Further, revealing the breadth of his evolution from naturalist beginnings to radical abstraction.
The exhibition is the inaugural entry in the museum’s Collection in Focus series, designed to illuminate the treasures within the Guggenheim’s world-renowned
collection. Featuring 18 works, including two rare sketchbooks and a significant loan from the Clark Art Institute, the exhibition provides an intimate look at Mondrian’s progression as an artist, offering new insights into the mind of one of the 20th century’s most transformative figures.
Curated by Mariët Westermann, Director and CEO of the Guggenheim, the exhibit unfolds as a visual narrative of Mondrian’s artistic journey. “Mondrian’s pic-
tures in the Guggenheim allow us to reconstruct his creative journey step by step,” Westermann explains. “They help us see him as the experimental painter he was—not just the geometric designer many know him to be.”
The story begins in Mondrian’s native Netherlands, where he meticulously captured trees, windmills, and landscapes in naturalistic sketches. These early works reveal his fascination with light and structure, even as he explored representational forms. The seeds of his iconic
abstraction are present here—glimpses of the balance and harmony that would later define his career.
The exhibition’s title, Ever Further, encapsulates Mondrian’s relentless drive to move beyond representation. His move to Paris in 1912 marked a turning point, as exposure to Cubism and the avant-garde propelled him toward a radical rethinking of form and composition. Over time, Mondrian reduced his work to essential elements— lines, planes, and primary colors—resulting in his revolutionary Composition with Red, Blue, and Yellow.
One of the exhibition’s standout features is a pair of rarely seen sketchbooks. These intimate artifacts offer a window into Mondrian’s thought process, tracing the evolution from detailed studies of nature to his abstract experiments. The inclusion of works from the Clark Art Institute enriches the narrative, providing viewers with a fuller understanding of Mondrian’s path toward abstraction.
Mondrian’s influence extends far beyond the canvas. His association with the De Stijl movement cemented his belief that abstract art could shape modern life. This philosophy positioned art as a blueprint for urbanization,
modernity, and functionality, and its impact has been profound. Decades later, his signature style has permeated fields as diverse as fashion, furniture design, and even branding. From Yves Saint Laurent’s iconic Mondrian dress to contemporary software interfaces, his vision continues to inspire.
In this light, Ever Further is not just a celebration of Mondrian’s work but a reflection on his enduring legacy. As Westermann notes, Mondrian’s ideas transcended art, influencing the way we perceive and interact with the world. “He believed that art could communicate something
universal, something essential about modern life,” she says.
The Guggenheim itself feels like the ideal setting for this exhibition. Ascending Frank Lloyd Wright’s spiraling rotunda to the Thannhauser Gallery, visitors are immersed in a space that mirrors Mondrian’s philosophy of clarity, structure, and movement. The interplay between Mondrian’s works and the museum’s architecture creates a dialogue that underscores the timeless relevance of his vision.
Supported by the Dutch Culture USA FUTURE 400 program, Piet Mondrian: Ever Further is both a retrospective and an invitation. It encourages viewers to reconsider what abstraction means, tracing the steps of an artist who pushed boundaries and redefined the possibilities of visual expression. Mondrian’s journey was one of constant refinement and experimentation, moving “ever further” from the natural world into the realm of the universal.
For those who visit, the exhibition offers more than just a glimpse into Mondrian’s work—it’s a chance to see the world through his eyes, in all its balance, order, and brilliance.
“Orpheus with his lute made trees, And the mountain tops that freeze, Bow themselves, when he did sing; To his music, plants and flowers Ever sprung; as sun and showers There had made a lasting spring. Every thing that heard him play, Even the billows of the sea, Hung their heads, and then lay by. In sweet music is such art, Killing care and grief of heart Fall asleep, or hearing, die.”
- William Shakespeare
this poetic tribute to Orpheus, the mythical musician who could charm even the most inert objects with his song, serves as a fitting introduction to the Solomon R. Guggenheim Museum’s latest exhibition, “Harmony and Dissonance: Orphism in Paris, 1910–1930”. The exhibition explores the revolutionary art movement of Orphism, which emerged in Paris during the early 20th century and sought to capture the essence of music and its emotional resonance in visual art.
Orphism, coined by poet Guillaume Apollinaire in 1912, described artists who were moving away from Cubism, toward an abstract, multisensory mode of expression. Apollinaire’s concept referenced the Greek mythological poet and lyre player Orpheus, who swayed nature and challenged death with his song, equating the
ephemeral abstraction of music with Orphism’s transcendent character.
As Samuel Taylor Coleridge once noted, “Nothing is as contagious as enthusiasm. It is the real allegory of the myth of Orpheus; it moves stones, and charms brutes. It is the genius of sincerity, and truth accomplishes no victories without it.”
This notion of enthusiasm as a potent force that can inspire and transform is embodied in the works of the Orphist artists, who sought to break free from traditional representational art forms and create a new, dynamic language of color and form.
The exhibition brought together a diverse array of artists, including Robert Delaunay, Sonia Delaunay, František Kupka, and Francis Picabia, who created kaleidoscopic compositions that captured the simultaneity of
modern life. Their works investigated chromatic consonances and contrasts, engaging with the rhythms and syncopations of popular music and dance.
One of the exhibition’s strengths is its ability to convey the movement’s boundary-pushing approach to art. By juxtaposing painting, sculpture, works on paper, and ephemera, the show highlights Orphism’s multidisciplinary nature and its intersections with other art forms. The exhibition also sheds light on the transnational character of the Orphism movement, reflecting the increased mobility and exchange of ideas that defined the early 20th century and beyond. Artists from various countries converged in Paris, fostering a vibrant cultural landscape that encouraged experimentation and resonates with the global nature of the world we live in today.
Robert Delaunay, Circular Forms (Formes circulaires), 1930. Oil on canvas, 50 3/4 × 76 3/4 in. (128.9 x 194.9 cm).
Solomon R. Guggenheim Museum, New York, Solomon R. Guggenheim Founding Collection 49.1184.
Photo: Kristopher McKay, Solomon R. Guggenheim Museum, New York
Robert Delaunay, Red Eiffel Tower (La Tour rouge), 1911-12. Oil on canvas, 49 1/4 × 35 3/8 (125 x 90.3 cm). Solomon R. Guggenheim Museum, New York, Solomon R. Guggenheim Founding Collection 46.1036. Photo: Midge Wattles, Solomon R. Guggenheim Museum, New York
Thomas Hart Benton, Bubbles, 1914-17. Oil on canvas, 22 × 17 in. (55.9 x 43.2 cm).
AN INTERVIEW WITH THE WRITER AND MUSICIAN ON SPRINGSTEEN’S STRIPPED-DOWN MASTERPIECE, ITS CULTURAL ECHOES, AND THE JOURNEY FROM BOOK TO FILM.
some albums arrive fully formed; others feel like transmissions from another world. Nebraska is the latter. Recorded alone on a four-track cassette in the quiet of his Colts Neck, New Jersey home, Bruce Springsteen’s 1982 album was never intended for release in its raw form. It was a collection of stark, unvarnished stories—songs about drifters, criminals, and lost souls—that stood in sharp contrast to the glossy, high-energy sound that defined rock and pop in the Reagan era. Yet, against all odds, Nebraska became one of Springsteen’s most enduring works.
For author, musician, and historian Warren Zanes, Nebraska was more than just an album—it was a mystery to be unraveled. His fascination led him to write Deliver Me from Nowhere, a book that unpacks the making, meaning, and cultural resonance of the record. Through extensive research and personal conversations with Springsteen, Zanes explores not just the mechanics of the album’s creation, but the emotional and artistic crossroads that led to it. Now, Nebraska is taking on a new life with an upcoming film adaptation of Deliver Me from Nowhere, starring Jeremy Allen White.
What makes Nebraska so compelling, even decades later, is its refusal to conform. At a time when music was leaning into excess—big production, big videos, big statements— Springsteen went in the opposite direction. He stripped everything down, leaving behind only the essentials: a voice, a guitar, a harmonica, and the hum of tape hiss. The imperfections became part of its character. In an age of digital perfection, where music is endlessly polished and manipulated, Nebraska feels more alive than ever.
bollettino: Can you share how your own experiences as a musician and having met Bruce roughly around the time of
the making of the original album helped inspire you to write this book? Did you know Bruce would participate before you began?
warren zanes: I was still a teenager when I first met Bruce Springsteen. Having grown up with his music in regular rotation on the family stereo, this was, of course, a thrill. He was in the middle of the Born in the USA tour, riding very high, and he came to the 150-seat club where we were playing—the Rhinoceros Club in Greensboro, North Carolina—joining us onstage for Hang on Sloopy and Stand By Me. That was a long time ago, nothing I expected him to remember. But he did remember. That didn’t mean it was a given that he’d sit with me so many years later to talk about Nebraska. I went into the book project not yet knowing, but hoping he’d participate. Thankfully, he gave me time and remarkable insight into both the recording process and that difficult time in his life.
bollettino: Your book shares some of the undercurrents of the 1980’s that may have influenced the direction Bruce chose to go in when making the album. Films like Terrence Mallick’s Badlands and other cultural phenomena that were floating about the ether of the period; do you think there is something about this current time that has led to a moment in which the public is uniquely receptive to the message of the book and soon to be film?
warren zanes: We’re so firmly entrenched in a digital era and a digital lifestyle that, I think, people marvel at Nebraska’s rough edges, its unfinished qualities. The imperfections of that recording have become a kind of sign of life. With all the worry about AI, with all the recordings that have been tuned and fixed in such a way that a kind of perfection is now almost standard, there’s Nebraska. Its
“Zanes
has emerged from the wilderness of Nebraska with one of the greatest books about the creative process ever written. By focusing on Springsteen’s dark masterpiece and the soil it emerged from, Zanes elevates it to near mythic stature. Deliver Me from Nowhere is profoundly felt, deeply understood, and (as it should be) full of joy and abandon—with a hint of menace.”
—Nick Flynn, author
characters are in trouble, never to be cleaned up by the artifice of happy endings. Its sound is in trouble, never to be cleaned up by the veneers that—even in 1982—could bring a certain gloss and sheen to recordings. Springsteen refused to tidy things up, and the result is an album that felt like it was speaking some strange truths to us. Today, in the age of “fake news” and an increasing number of questions about what is “real”—was that a person who sent me that text? Or was it a “bot”?—Nebraska provides something we're intuitively feeling ourselves to be missing or, worse yet, in danger of losing altogether. For artists, it,s a reminder that imperfections can be among the strengths of a work, no matter the medium.
bollettino: Can you talk more about the cultural context in which “Nebraska” was released? How did the album reflect or challenge the dominant musical trends of the time?
warren zanes: Nebraska arrived into the start of the
MTV 1980s, into the dark heart of Reagan’s America. Reagan gave us a vision of America that involved a lot of pageantry, yet many were living lives that involved unseen struggles. I believe Springsteen wanted to look behind the facade that was being presented. On the personal side, I think he was also wondering about what was hidden within himself. There’s a kind of bravery to what he did that touched a lot of people who make art. He wasn’t creating from some heroic place so much as he was working from the frailty he was feeling within himself. Rock and roll, so associated with a particular male swagger, hasn’t seen a lot of this kind of vulnerability.
bollettino: How did you establish enough trust that Bruce would participate and how did you navigate the fine line of respecting the boundaries of an artist that may only want to go so far on certain topics?
warren zanes: Bruce is probably the most open artist
I’ve interviewed, and I’ve interviewed a lot of them. But I believe he crossed over into some territory where he found himself thinking, “What’s the point in NOT talking about this stuff?” He brings a lot of candor to every situation. In the interviews for the book, I didn’t hear him say, “I don’t want to talk about that.” He took on every question. But I would add that I didn’t come in the room with a tabloid sensibility or a critic’s interest in assigning value to the work, in the good/bad sense of assigning value. I’m interested in human stories and art that has a kind of historical importance. There’s a lot of music I don’t particularly like that I believe has significant historical importance, and I can discuss it at length without ever having to say, “That’s not good.” Village People, Britney Spears? Both are historically important, very rich as subjects to explore. Whether I think they’re good or bad is finally not that interesting. I happen to love Nebraska, and have loved it for several
Photo: Danny Clinch
Jeremy Allen White as Bruce Springsteen in 20th Century Studios’ “Deliver Me From Nowhere.”
Provided By Mark Seliger/20th Century Studios
decades, so, admittedly, that greased the cogs in a particular way that I think is meaningful.
bollettino: You had an opportunity not many writers do, to visit the place where it all went down with the actual person who did it. What was it like to go to the Colt’s Neck New Jersey home in which Nebraska was recorded with Bruce himself? How does one prepare for such a moment and was there a special insight that you gained while you were both there, if any?
warren zanes: I’m interested in the places where things were made. I think many of us are. I’d like to see where Cindy Sherman made her first work, where Raymond Carver wrote What We Talk About When We Talk About Love, Joseph Cornell’s workplace. Just like the things these artists made, the places they made them in vibrate with the creative explosions that happened there. Maybe it’s matter of projection, I don’t know. I’m interested, either way. So, going to the bedroom where Nebraska was made, driving over there with Bruce, was an experience I keep in my fault of special experiences. I'd been thinking about and writing about that room for a few years, and, obviously, the bedroom in my mind was not the same as the one I encountered. I had to do a little surgery, removing my earlier vision of the place. One of the lessons learned, however, relates to Bruce's sensitivity to other creators. He had a feeling that this experience would help me, which it did. There are a lot of artists who need to stay in their
own heads to do what they do, but I appreciated and still admire that Bruce could extend himself in this way. It was the single best way to conclude the project. He gave me my coda.
bollettino: The master recording existed solely in a commercially available cassette tape in Bruce’s pocket for a long time. The odyssey of bringing to life the essence of that recording took many twists and turns, and ultimately led to the beginning…how did the process in which he record the album foreshadow today’s music scene?
warren zanes: In taking his recording operation to the bedroom, Bruce was making an unlikely move that would, in a number of years, become something closer to the norm. Commercial recording studios, many of which would close, were going to suffer because of this. But the capacity to make multitrack recordings was democratized. That four-track cassette recording, made by an artist who had just had a number one record, signaled a coming revolution. But I don’t think that’s what Bruce was out to do. It just so happened that he sparked something, inadvertently. He’s one of those artists who have that kind of impact.
bollettino: When I first moved into New York City in the 90s, like generations before me, it seemed like every cool person I knew was in a band. Now there are DJs and Tik Tokers, and other mainly solitary pursuits, do you think the pendulum will ever swing back to more collaborative forms of expression like musical bands?
warren zanes: I’m not particularly prophetic as a person. I get a lot of things wrong when I try to create a picture of the future. But hindsight tells me that the pendulum will indeed keep swinging. It won’t swing right back to where it was, of course. We’d still be living in caves if that were the case. But human interaction—in the form of an ensemble, a duo, a band—is too good to leave behind. Something happens when one person plays with another that sometimes throws off sparks. There’s a rub between two or more people making sounds that can bring a lot of life to a groove, even if they’re playing with machines or computers. Listen to Enter the Wu Tang, that’s got some feeling. So, yes, I believe that new versions of the combo will come back for a number of years to come. I’m just not sure if they’ll look like The Beatles.
bollettino: While writing the book, did the notion of it being adapted into a movie ever cross your mind? How did the film come about?
warren zanes: Never. Not for a moment. Did I see it as I wrote it? Yes. But did that lead me to dream of movies? No. A Hollywood producer, Eric Robinson of the Gotham Group, got the idea and sought me out. We started talking. Gotham reached out to their first-choice director, Scott Cooper. I helped bring Scott together with Bruce and his manager Jon Landau, and this thing took on a life of its own. As a writer, I’d be a fool to expect such things. As a dreamer, I welcome them.
Photo: Roz Levin
Madison Headrick, model and founder of care.ē.on
Photo: Joe Charles Holtrichter
Beauty in Motion
MADISON HEADRICK REDEFINES BEAUTY ROUTINES FOR THE MODERN TRAVELER
madison headrick has spent the better part of her life in motion. As a model, she’s been everywhere— backstage at international fashion weeks, racing through airport terminals, and waking up in unfamiliar hotel rooms before the sun. But for Headrick, travel isn’t just about movement—it’s about ritual.
In the quiet moments between takeoff and landing, between jet lag and runway lights, a philosophy was born: self-care as a form of resilience, skincare as a grounding force. That idea became Care.e.on, a beauty brand built not just for skin, but for the soul of the modern traveler. Care.e.on didn’t come from a boardroom strategy session—it was born in the in-between spaces, from redeye flights and dry-air cabins, from the quiet urgency of needing to look and feel human after 12 hours in transit. When Headrick launched the brand, she turned to the artists who had long inspired her—aesthetic purists like Morandi, Manzoni, and Ryman. Their devotion to simplicity resonated with her own approach to skincare: strip away the excess, and what remains is essential.
This philosophy extends beyond packaging. Headrick describes the hues of Care.e.on’s products as a tribute to her roots in Charleston, South Carolina—pluff mud, sand, sweetgrass. They are colors of place, of perma-
nence, a contrast to the transient world she inhabits.
And yet, inspiration can strike anywhere. The brand’s newest release, the Layover Lip Mask, was sparked not by art, but by taste—a fleeting culinary experience in Malibu. The hint of yuzu, delicate yet fresh, became the heart of the product, an olfactory memory woven into skincare.
For Headrick, skincare isn’t about excess—it’s about precision. Every product in Care.e.on’s lineup serves a purpose, a counterpoint to the bloated, step-heavy regimens that dominate the beauty space. The challenge? Staying innovative while staying lean.
“The beauty industry thrives on newness,” Headrick says, “but Care.e.on isn’t about chasing trends. It’s about creating what’s truly needed, what makes travel easier, lighter, better.”
The Carry-All, a sleek expansion of the brand, embodies this balance. More than a bag, it’s a travel companion—streamlined, intentional, designed to hold only the essentials. It’s a reflection of Headrick’s own approach to packing: minimalist, efficient, always prepared for the next destination.
For all its elegance, Care.e.on is deeply personal. Headrick’s career has spanned over 15 years, and if there’s
one lesson the industry has taught her, it’s that beauty and well-being are inseparable.
She remembers the exhaustion of back-to-back photoshoots, the disorienting haze of time zones, the need to pull herself together after yet another sleepless flight. Skincare wasn’t just about looking fresh—it was an act of self-preservation, a ritual that grounded her in the chaos.
That’s what Care.e.on is about. It’s skincare, yes, but it’s also a mindset. A belief that travel can be restorative rather than draining, that beauty isn’t about perfection but about feeling good in your own skin—no matter where you wake up.
In an industry where beauty is often confined to vanities and bathroom shelves, Headrick is pushing it forward—into airports, onto planes, into the hands of those who never stop moving.
“Wellness isn’t just a trend,” she says. “It’s about how you take care of yourself when no one’s watching. When you’re exhausted, when you’re in transit, when you just need a moment for yourself.”
With Care.e.on, those moments aren’t just possible—they’re essential. And for the modern traveler, that might just be the most beautiful thing of all.
FROM VISION TO ICON
Camilo Miguel Jr., Founder & CEO of Mast Capital on How Cipriani Residences
Miami is Transforming Luxury Living in Brickell and Beyond
What inspired the partnership between Mast Capital and Cipriani for this first-of-its-kind residential project in the Americas?
“Mast Capital and Cipriani share a commitment to timeless elegance and exceptional experiences. Cipriani’s nearly century-long legacy, beginning with Harry’s Bar in 1931, embodies the sophistication and service we strive to deliver. Cipriani Residences Miami represents a natural extension of this legacy, blending their iconic heritage with our vision for modern, urban luxury living.”
How does Cipriani Residences Miami distinguish itself from other branded luxury developments?
“This project is an authentic expression of the Cipriani ethos. From the 80-story all-glass tower by Arquitectonica to amenities like the private Cipriani restaurant and speakeasy, every detail reflects their heritage. The Canaletto Collection offers a boutique living experience with direct elevator access, custom finishes by 1508 London, and exclusive services. It’s more than a residence; it’s a curated lifestyle rooted in authenticity and sophistication.”
The Penthouse Collection at Cipriani Residences Miami. Artist’s conceptual rendering.
How have you integrated Cipriani’s legacy into the design and experience of the residences?
“Cipriani’s legacy is woven into every aspect of the project. The tower’s elegant design and interiors by 1508 London reflect their commitment to craftsmanship and style. Amenities such as private dining, a Bellini bar, and a speakeasy extend the Cipriani lifestyle, offering residents a seamless blend of modern luxury and a storied tradition of excellence.”
How does Cipriani Residences Miami complement Brickell’s evolution into a global luxury destination?
Who are the residents Cipriani Residences Miami is designed to attract?
“Our residents value privacy, exclusivity, and the seamless integration of heritage and modernity. Designed for high-net-worth individuals and global executives, the residences, especially The Canaletto Collection, offer bespoke finishes, private dining, and curated amenity spaces. It’s an intimate, elevated lifestyle for those who appreciate Cipriani’s legacy.”
“Our residents value privacy, exclusivity, and the seamless integration of heritage and modernity... It’s an intimate, elevated lifestyle for those who appreciate Cipriani’s legacy.”
— Camilo Miguel Jr.
Miami has seen a tremendous influx of new residents in recent years. What do you think makes the city so appealing?
“Brickell has transformed into a vibrant, cosmopolitan district, and Cipriani Residences Miami both reflects and drives this evolution. Anchoring Brickell’s southern tip, the tower sets a new standard of luxury living, blending Cipriani’s elegance with modern design to attract affluent residents and enhance the neighborhood’s status as a global luxury hub.”
“Miami has evolved into a global city, offering a unique mix of cultural vibrancy, economic opportunity, and natural beauty. It’s a hub for arts, dining, and innovation, drawing individuals seeking a lifestyle that blends leisure and ambition. Cipriani Residences Miami captures this energy, delivering a refined experience that embodies both Miami’s dynamism and Cipriani’s timeless appeal.”
What role does Cipriani Residences Miami play in Mast Capital’s portfolio and your vision for the future?
“Our mission is to create transformative developments that stand the test of time. Cipriani Residences Miami exemplifies this, integrating Cipriani’s centurylong legacy with our commitment to quality and forward-thinking design. With over $4 billion in project capitalization, this development sets a new benchmark for luxury living, reflecting our dedication to delivering iconic properties that enrich communities and elevate lifestyles.”
CiprianiResidencesMiami.com
+1.786.408.9466
GALLERY: i 8 GALLERY
Pioneering Icelandic Art on a Global Stage
REYKJAVÍK’S
GROUNDBREAKING i 8 GALLERY CONTINUES A RICH HISTORY OF ICELANDIC ART AND CULTURE
BY GRÉTAR ÞÓR SIGURÐSSON
it is a cliché to talk about the small population of Iceland in relation to the nation’s achievements, whether in sports, in banking, or in the arts. Among the country’s numerous world records “per capita,” the art scene of Reykjavík could plausibly lay claim to being the most active of any capital city—if only there were some way to measure it.
The city’s various art museums and galleries offer eventful programs throughout the year. Because of the small scale of the Icelandic art community, exhibition openings can often resemble the fictional Boston bar “Cheers,” a place where everybody knows your name.
Art-making is also a relatively young profession in Iceland. Scholars sometimes joke about Icelandic art history beginning in the year 1900, when Þórarinn B. Þorláksson sailed back to Reykjavík from his studies at the Royal Danish Academy of Art and held the country’s first solo exhibition of Icelandic paintings.
It should come as no surprise that Þorláksson and other early 20th-century pioneers found their primary inspiration in nature. Much like Iceland’s diverse landscapes, these paintings defy homogeneity. They juxtapose serene sunny days and bright summer nights with rugged,
windswept seascapes. Winter landscapes from this period are plentiful, and the country’s signature moss-covered lava fields are a recurring theme. The island’s top tourist attractions today—active volcanoes and the Northern Lights—also captivated the leading Icelandic painters of the last century.
Fast forward to Reykjavík in 2025, and you will find a bustling contemporary arts scene. “So many articles have been printed about Iceland where it is said that every other person is in a band or a writer or working in the cultural sector,” notes Hildigunnur Birgisdóttir, one
of Iceland’s most prominent artists. Her Icelandic Pavilion exhibition at the 2024 Venice Biennale, That’s a Very Large Number — A Commerzbau, has now made its way to the National Gallery of Iceland, where it will be on view until September.
“We are a nation of what, 350,000? That is kind of like a single neighbourhood in New York,” Birgisdóttir continues. “We are tiny. But that holds a lot of opportunities. It’s great being small, because it offers you both the opportunity to keep a low profile and to get away with things that others might not.”
The tight-knit community means that, for better or worse, members tend to steer away from conflict. Icelandic artists do not experience the same sense of competition as their counterparts in other parts of the world, Birgisdóttir says, and readily collaborate for the sake of the wider art scene.
Birgisdóttir has been on the roster of i8 Gallery since 2017. Having maintained an ambitious exhibition program for 30 years, i8 has been a trailblazer in showcasing some of the country’s most influential contemporary artists while introducing international figures to Icelanders.
The Reykjavík gallery was “just a tiny hole in the wall” when mother-and-son gallerists Edda Jónsdóttir and Börkur Arnarson opened the original space at Ingólfsstræti 8 back in 1995, Arnarson says. At that time, he remembers, “there were a few spaces that artists could rent for exhibitions, but no one approaching artists in order to set up exhibitions. There wasn’t a single commercial gallery in the city.”
Despite the humble address, from which the gallery takes its name, Jónsdóttir and Arnarson did not set the bar low. Their vision was to exhibit cutting-edge new art that, more often than not, would be specially made for the space.
“We decided very quickly what we wanted to do. And half of our roster consists of artists that have been with us almost since the beginning,” Arnarson says. The inaugural show was devoted to works by Hreinn Friðfinnsson, a titan of Icelandic art history, “and then we exhibited many great artists in a row.”
Friðfinnsson co-founded the SÚM group, which paved the way for performance and conceptual art in the 1960s and influenced an entire generation of Icelandic artists. His fellow SÚM members Sigurður and Kristján Guðmundsson have also been intertwined with the history of i8 for decades. Over the years, many international names have found their way into the roster, including Roni Horn, Lawrence Weiner, Ólafur Elíasson, and Ragnar Kjartansson.
The gallery has also expanded beyond its namesake address, moving in 2010 to a central location near
Reykjavík harbor, one of the busiest ports in Iceland. It is a stone’s throw from Hafnarhús, the former warehouse building of Reykjavík Art Museum, which recently hosted an exhibition paying tribute to the late Friðfinnsson. Stepping into the spotlight in 2025 is another i8 artist: Kjartansson’s multi-channel video installation World Light will be screening at the museum until late September. The 2015 piece is a cinematic adaptation of an epic novel by the Nobel Prize-winning Icelandic writer Halldór Laxness. Starring Kjartansson along with his family and friends from the artistic field, it is a testament to the cooperative spirit of the Icelandic art scene.
Meanwhile, Kjartansson is the latest artist to show at i8’s experimental second location, i8 Grandi. The gallery’s annual program launched in 2022 in the Marshall House, a buzzing harborside cultural center in a renovated herring factory, where artists are invited to present a solo exhibition that will evolve over the course of a full year. New Yorkers will have the chance to participate in the ever-evolving story of i8 this May when the gallery brings a taste of its eclectic program to the city as part of the Independent art fair. On view will be the signature abstract paintings of Japanese artist Yui Yaegashi, the newest addition to the gallery’s roster, with their graphic lines framing delicate swathes of color.
Grétar Þór Sigurðsson is an Icelandic journalist at RÚV, the Icelandic National Broadcasting Service. He holds a BA in Art History and Theory from the University of Iceland and is currently completing an MA in Art History and Art Theory at the University of Iceland and Stockholm University.
Installation view from Roni Horn (2020) at i8 Gallery, Reykjavík. Courtesy of the artist and i8 Gallery, Reykjavík
Installation view from Hildigunnur Birgisdóttir’s, Peace(2022) at i8 Gallery, Reykjavík.
Courtesy of the artist and i8 Gallery, Reykjavík
Installation view from Studio Olafur Eliasson(2017-2021)
in the Marshall House, Reykjavík.
Courtesy of the artist and i8 Gallery, Reykjavik
GALLERY: ADDIS FINE ART
Amel Bashier’s Gateway to Freedom
THE SUDANESE ARTIST REFLECTS ON DRAWING STRENGTH FROM WOMEN’S STRUGGLES AND EXPRESSING HERSELF THROUGH PAINT
Growing up between Saudi Arabia and Sudan, Amel Bashier needed exceptional determination to make it as a woman artist. She had few female role models during her breakthrough years on the Sudanese art scene, but a quest for self-expression urged her onward. After exhibitions in Khartoum, Sharjah, Nairobi, Cairo, Dubai, Paris, and London, Bashier’s contemplative paintings of women will debut in New York this spring at the Independent art fair, presented by Addis Fine Art. The artist, now based in France, portrays female figures who radiate strength and self-possession, traits that she saw in her close family and in her distant ancestors: the queens of ancient Nubia. In this interview, which has been translated from the original Arabic and edited for clarity, she discusses formative memories from her childhood, the feminist struggles that inspire much of her work, and the central message of peace explored in her recent paintings.— Hannah McGivern
“art is my window to freedom in a world that is full of taboos. I was born in Jeddah in a period when the extremist current prevailed, in the days of the Islamic regime. Everything that the soul desires in the world of art, such as music and drawing, was forbidden.
I spent my childhood moving between Jeddah and Port Sudan on the Red Sea. I was in close contact with my family, my roots. I come from multiple nationalities and tribes, each with their own traditions and customs. When we visited our relatives at home, I noticed the smell of incense, the colors, the flavors of food, and even the language.
My father was from Dongola in northern Sudan, the heart of ancient Nubian civilization. My maternal grandfather was from India. Despite his great love for Sudan, he preserved the traditions of Indian attire, of speaking Hindi, and eating Indian food. When my moth-
er’s relatives visited, it was as if they were living in a miniature India in Sudan. My mother’s mother was from the Hadendoa tribe of eastern Sudan. The lyrics of their songs express their courage, their beautiful women, and their pride in them.
The mixture of all these cultural backgrounds stored in my memory many scenes that inadvertently slipped into my paintings. I am always told that my paintings are Persian or Indian in nature: a mixture of Persian inscriptions and motifs and African features.
Even my university professors pointed this out to me. At that time, university education for girls in the Kingdom of Saudi Arabia was limited to a few disciplines. So when I graduated from high school, I traveled to study at the Khartoum College of Applied Studies in the faculty of interior design.
Amel
Bashier, Installation Image: Ward
El Juri, Solo Exhibition at Addis Fine Art London, May 2024 (Courtesy Deniz Guzel Photography)
Amel Bashier, Untitled IV, 2023 (Courtesy the artist and Addis Fine Art)
Women are the inexhaustible source of inspiration for my paintings. Women in all their situations: in strength, in brokenness, in sadness, and in struggle. For much of my life, I have lived with women who were struggling to obtain basic rights.
I am descended from the queens of ancient Nubia. These women inspire me at the height of their strength, justice, and courage, which passes through to the role of women in the present day. For example, women played a great role in the Sudanese revolution in 2019.
From my first year of university, I started looking for places to display my paintings and my perspectives to the world. It was difficult as a woman to find galleries suitable for what I was presenting in my work, without judgment from society.
The activity of Sudanese female artists was very
low, due to the marginalization of Sudanese women. I believed that every woman should express what goes through her mind about her situation and her rights. Art was a space in which I could express my opinions, my existence, and my desires. It was a place where I could be free.
Books, birds, plants, and trees are some of the elements that recur in my paintings. One of my favorite symbols is the hoopoe: this bird is rebellious, proud, and travels long distances alone. I like to add the hoopoe to my paintings as a symbol of women’s love for freedom.
Black and white have dominated my artistic career. Perhaps it is an escape from the noise of color. Of course, like any artist from Africa, my life was rich in colors—the sun of Africa, the soil, and the atmosphere. My paintings were rich in those colors in the beginning. But black ink quickly drew me in. I am still attracted to the
magic of the pen. After the brush I make the final touches on my paintings with a pen.
Practicing a style itself is fun, regardless of the tools we use. It is a state of rapture. It is as if the artist is listening to an old song, to all of its mirth and melodies, but in her own language. She is painting, and instead of the song being audible, it turns into a visual.
I am constantly seeking to grow and to explore new ideas through my work. My latest paintings investigate the complexity of human relationships, and the emotions that are born from them—whether it be anger, pain, strength, or joy. In a new piece titled At the negotiating table, childhood dies, I address the injustice of children losing their lives in war. I hope my art gives others the opportunity to reflect on these painful but important realities.”
Amel Bashier, Ward El Juri, 2024
(Courtesy the artist and Addis Fine Art)
Amel Bashier, Life, 2022
(Courtesy the artist and Addis Fine Art)
GALLERY: YANCEY RICHARDSON GALLERY
An Outsider with an Insider’s View
REDISCOVERING CONCEPTUAL PHOTOGRAPHER TSENG KWONG CHI , THE “AMBIGUOUS AMBASSADOR” OF THE 1980S EAST VILLAGE SCENE
BY XHINGYU CHEN
new york city in the late 1970s and 1980s was a heady place for artists. Political awakenings coincided with a collaborative energy and a flourishing of conceptual practices. Andy Warhol was the prince of Pop venerated by a younger generation, Basquiat exploded onto the scene with his propulsive, graffiti-inspired paintings, and a lanky, bespectacled street artist named Keith Haring began spreading his cartoon figures around the world through public interventions and mass-market reproductions. Documenting all of this from behind a camera, while also producing a profound vision of his own, was Tseng Kwong Chi, a queer, Hong Kong-born dandy who found a home in New York’s transgressive East Village before his untimely death from complications from AIDS in 1990. The artist’s playful conceptual photography and contributions to the downtown scene are only now beginning to be re-examined, and will soon be celebrated in a solo presentation by Yancey Richardson Gallery at the Independent art fair this May.
Shortly after moving to Manhattan in 1978, Tseng embarked on his signature East Meets West series of photographs, in which he poses stoically in mirrored sunglasses and an austere Mao suit in front of iconic American and European monuments and tourist attractions. The images began as proto-selfies, with the shutter release visible in the artist’s hand. Later he had assistants take his portrait, yielding surreal shots of a deadpan Tseng shaking hands with an astronaut in a space suit at Cape Canaveral or towering over Mickey Mouse at Disneyland.
The concept originated in a visit from his parents, who invited him to Windows of the World, an upscale restaurant at the top of the World Trade Center. Tseng wore the only appropriate outfit he had: a drab Zhongshan suit, that potent signifier of Mao Zedong and Communist China, which he had purchased at a thrift store in Montreal. Mistaken for a Chinese dignitary by the restaurant staff, he was treated with due deference and seated at the best table in the house.
Tseng described his East Meets West persona as an “ambiguous ambassador,” an apt term for a multicultural transplant who had never been to mainland China, but whose journey to New York came via Hong Kong, Vancouver, and Paris. A child prodigy in Chinese ink painting and calligraphy, according to his sister Muna Tseng, he fulfilled his dream of studying painting at the Académie Julian in Paris. But he quickly found an alternative calling in photography, switching over his major before graduating in 1975.
This classical training undoubtedly informed Tseng’s work, providing a formal visual language for his photographs. Some of the later East Meets West images were shot in the American West and the Canadian Rockies, foregrounding the magnificent landscapes rather than Tseng’s own larger-than-life persona. They recall traditional Chinese ink paintings in which figures appear as tiny blips in the composition, or 19th-century American landscapes, with their worship of nature seemingly untouched by man.
Of course, these subjects also held a political charge. Awe-inspiring landmarks and natural landscapes have long been tools in promoting an agenda of nationalistic identity and pride. Tseng’s series questions how an outsider fits into this narrative. Costumed in the so-called Mao suit, the monolithic gray uniform that mainstream America could identify as definitively “Chinese,” he interrogated how his adopted country perceived someone like him.
President Nixon’s 1972 tour of China had been a visual spectacle, ending 25 years of isolation between the Communist People’s Republic and the United States. In early 1979, Deng Xiaoping, China’s de facto leader after Mao’s death, became the first Chinese official to visit
the US in the modern era. Welcomed to the White House by President Carter, he crisscrossed the country, donning a cowboy hat at a rodeo, visiting a Ford automobile plant and the Johnson Space Center, and making speeches about friendship and cooperation between the two nations. Tseng’s performance mirrored that of Deng, deftly playing the role of charismatic diplomat.
Tseng was not particularly interested in the pure politics of statecraft, although the Chinese suit had a provocative, identity-bending purpose in his work—it was political with a small p. He was a child of global privilege, raised by a family who revered the arts (his father was an amateur photographer who gave Tseng his first camera),
and who lived in comfort in Hong Kong before emigrating to Vancouver. But in America he was othered: a queer immigrant who came to be embraced by a community of rebels and outsiders.
After meeting Keith Haring on a street corner, Tseng became his close friend, prolific documentarian, and sometime guide as they traveled the world together. A visit with Haring to a poetry reading at Club 57 was Tseng’s entrée to the East Village, where he made fast friends with other downtown denizens like Ann Magnuson, Kenny Scharf, and John Sex. Tseng reveled in the intoxicating nightlife and took inspiration from the club scene’s performative energy. The dancer and choreogra-
pher Bill T. Jones once astutely described Tseng’s “ambiguous ambassador” act as a form of “Chinese drag.” Many of his friends adopted party personas, their art intrinsically linked to everyday life.
Tseng captured this community through his camera, taking meticulous studio portraits of Warhol, Basquiat, and many more. He left an archive of approximately 20,000 photographs immortalizing Haring’s ephemeral public art for posterity. As in East Meets
West, Tseng understood the vital power of images to influence perceptions. One late 1980s portrait shows a casually confident Haring reclining on a couch in jeans and sneakers, surrounded by murals and ceramics in his cavernous loft. The graffiti artist, far from being unseen and unappreciated, is elevated. Tseng’s pictures invite the audience into the private creative world of the artist, transforming society’s rebels into the dignitaries they deserved to be.
Xhingyu Chen is an author, independent art critic, and contemporary art specialist based in Brooklyn. Her upcoming book focuses on a select group of artists who have permanent public artwork in the New York City subway, and it will be published by Schiffer Publishing in spring 2026.
this spring, the lights of Broadway will shine bright on a timeless tale of love, jealousy, and betrayal. The classic Shakespearean tragedy Othello is set to take the stage, boasting an all-star cast, including Denzel Washington and Jake Gyllenhaal. This highly anticipated production promises to bring a fresh perspective to the Bard’s iconic work, infusing it with the urgency and relevance of our modern era.
At the helm of this ambitious endeavor are producer Brian Moreland and director Kenny Leon, two visionary creatives with a proven track record of bringing innovative and impactful productions to the stage. In the following pages, we sat down with Moreland to discuss his approach to reimagining Othello for a contemporary audience, the challenges and triumphs of working with a star-studded cast and director, and the enduring power of Shakespeare’s masterpiece to captivate and inspire.
bollettino: What drew you to Shakespeare’s Othello as a story to bring to Broadway, and how did you envision updating this classic tale for modern audiences?
brian moreland: Othello is one of Shakespeare’s most profound and heartbreaking works, and its themes of love, jealousy, power, and betrayal resonate just as deeply today as they did when it was first written. What drew me to this story was its exploration of identity—particularly Othello’s status as an outsider—and how that vulnerability is manipulated and weaponized against him. For a contemporary audience, I felt it was important to amplify these elements through the lens of race and systemic power structures that continue to impact our society.
bollettino: Your production of Othello features a diverse cast and creative team. Can you discuss the importance of representation and inclusivity in your work, and how you aim to make Broadway more accessible to underrepresented communities?
brian moreland: Diversity, for me, goes beyond just what we see — it’s about creating a production that reflects the richness of humanity in all its forms. This includes diversity in gender, age, cultural background, and life experience, all of which bring unique perspectives to the work. By embracing a wide range of voices in both the cast and creative team, we can tell stories that feel authentic, dynamic, and deeply connected to the world around us.
In Othello, it was important to ensure that this diversity wasn’t just present but integral to the storytelling. A
production benefits when the people involved bring their unique insights and lived experiences to the table, enhancing the depth and complexity of the work.
As a producer, I’m also committed to making Broadway a space where everyone feels welcome. That means fostering inclusivity not only onstage but offstage as well.
Theater is at its best when it reflects the breadth of the human experience, and I believe productions like Othello can inspire new audiences and open doors for the next generation of storytellers.
bollettino: What was your collaborative process like with director Kenny Leon on Othello? Did he come to you with a clear vision, or did you work together to shape the direction of the play? How did your partnership influence the way you tackled the play’s themes of love, jealousy, and betrayal, particularly in relation to contemporary social issues and cultural context?
brian moreland: Kenny Leon is a visionary, and working with him is a true gift. He came into this process with a clear understanding of the emotional weight and urgency of Othello, but what makes Kenny such a remarkable collaborator is his openness to dialogue and exploration.
From the very beginning, our conversations focused on making Othello not just a tragedy of one man, but a story that resonates with audiences through its broader cultural implications. Together, we looked at how themes like love, jealousy, and betrayal intersect with is-
sues like racism, misogyny, and toxic power dynamics, and how those intersections can inform every aspect of the production—from the staging to the performances to the visual design.
Kenny’s commitment to creating a space for both actors and audiences to confront these themes honestly has been transformative. His approach ensures that Othello feels as alive and vital today as it ever has.
bollettino: As a producer, you’ve had success with a range of projects, from classical plays to new musicals. What do you look for in a project, and how do you balance artistic vision with commercial viability?
brian moreland: I’m drawn to projects that tell stories with depth and purpose—stories that challenge our perceptions, speak to the human condition, and leave a lasting impact. For example, when I produced The Piano Lesson with Samuel L. Jackson and Danielle Brooks, it was about honoring August Wilson’s legacy while ensuring the production felt alive and resonant for contemporary audiences. That production was a perfect example of a piece that carried immense artistic weight and also connected with audiences in a commercially meaningful way.
Similarly, with Othello, I was excited by the opportunity to revisit a Shakespearean classic while presenting it through a fresh lens, exploring its themes of love, jealousy, and betrayal in ways that resonate with today’s social and cultural context.
Balancing artistic vision with commercial viability requires a deep understanding of both the work and the audience. I look for projects that inspire passion in their creative teams, because that passion translates to the audience. But it’s also about creating an experience that makes the theater feel essential—something people have to see. Whether it’s a new musical, a revival like The Piano Lesson, or a timeless classic like Othello, my goal is to present work that is both artistically bold and accessible to a wide range of audiences.
Ultimately, I believe that when you honor the story and the creative vision behind it, you create a foundation for commercial success. Audiences respond to authenticity, and when a project has heart, purpose, and excellence, it can transcend traditional boundaries and draw people in.
My job as a producer is to create the conditions for that magic to happen.
ART MEETS FASHION IN A DARING NEW EXHIBITION AT THE ICONIC MUSEUM
beneath the vaulted ceilings of Paris’s most iconic cultural landmark, a new era of fashion is unfolding. The Musée du Louvre, long celebrated as the epicenter of art and antiquity, is now a catwalk of haute couture. Its latest exhibition, Louvre Couture: Art and Fashion – Statement Pieces, is a groundbreaking exploration of the intricate ties between art and high fashion, spanning centuries and styles. For the first time, the museum’s storied halls host an unprecedented dialogue between its Department of Decorative Arts and 45 of the world’s most iconic fashion houses.
The exhibition, running from January 24 to July 21, 2025, is a visual and intellectual feast. A stunning 9,000 square meters of gallery space has been transformed to showcase over 100 couture creations alongside masterpieces of decorative arts. Curated by Olivier Gabet, the exhibition doesn’t just juxtapose gowns with gilded antiques—it stitches together the shared threads of craftsmanship, artistry, and ornamentation.
Visitors are invited to meander through the galleries, where eras collide in seamless conversation. In one room, the glitter of Byzantine gold meets the modern sculptural fantasies of Iris van Herpen. Across the way, the intricate enamelwork of Renaissance ceramics finds echoes in the couture embroidery of Dior and Chanel. The Napoleon III Apartments, resplendent with Second Empire grandeur, provide the perfect backdrop for John Galliano’s regal moiré and velvet gowns. “We wanted to create more than just a display,” said Gabet. “This exhibi-
tion is a manifesto on the symbiotic relationship between fashion and the decorative arts.” Indeed, the exhibition celebrates not only the designers of today but the artisans of the past who laid the groundwork for couture’s meticulous techniques.
Highlights include Chanel’s 2019 jacket, inspired by an 18th-century commode from the museum’s collection, and Alexander McQueen’s Armadillo shoes, reimagined as if they were relics unearthed from the museum’s trove of artifacts. These pieces are not merely placed in rooms—they are in dialogue with them, mirroring their surroundings in form and function.
The connection between the Louvre and haute couture is no accident. Long before designers like Balenciaga and Givenchy brought their collections to life, the museum served as an endless source of inspiration. As Olivier Gabet noted, “The Louvre has always been a mood board for fashion—its collection is a testament to how tastes evolve.” From the folds of drapery immortalized in marble statues to the geometric patterns of Moorish tilework, the museum has unwittingly shaped the trajectory of modern design. Fashion houses, including those featured in the exhibition, have borrowed liberally from its archives, whether it’s Hermès riffing on medieval tapestries or Rick Owens channeling Gothic architecture.
Adding to the Louvre’s fashion-forward endeavors is Le Grand Dîner, a gala fundraiser set to take place on March 4 during Paris Fashion Week. Already likened to the Met Gala, the event is poised to cement the muse-
um’s status as the cultural crossroads of art, fashion, and philanthropy. The exhibition has also drawn the attention of global fashion icons. During Paris Fashion Week, Louis Vuitton transformed the museum’s Cour Carrée into a sartorial spectacle, presenting a collection that fused Eastern and Western aesthetics with meticulous Japanese craftsmanship.
For fashion enthusiasts and art aficionados alike, the exhibition is an immersive experience. The museum has expanded its offerings to include guided tours, workshops, and lectures that delve into the interplay of fashion and art. Activities range from creating feather brooches to exploring “fashion faux pas” through the ages—a reminder that what is now iconic was once controversial. And for those unable to visit in person, the exhibition catalog offers a richly detailed exploration of the pieces and their historical contexts. “This is more than an exhibition,” said Laurence des Cars, President-Director of the Louvre. “It is a love letter to the enduring relationship between art and fashion.”
In a city that has long been the beating heart of both industries, Louvre Couture is a fitting tribute to Paris’s dual legacy as the capital of style and culture. Whether you’re there to marvel at a John Galliano masterpiece or to see how a Louis XV tapestry influenced contemporary couture, this exhibition promises to transform the way you see both art and fashion. After all, as Paul Cézanne once said, “The Louvre is the book from which we learn to read”—and now, it’s also a runway.
there is a moment in Queer, Luca Guadagnino’s adaptation of William S. Burroughs’ semi-autobiographical novel, where Daniel Craig’s character, Lee, begins to unravel. The pristine white of his shirt—blindingly clean at the start—grows sullied, marked by sweat, dust, and the slow dissolution of self. The deterioration is almost imperceptible, but by the film’s end, it is undeniable: clothing, in Queer, becomes a physical register of psychological decay. For Jonathan Anderson, the film’s costume designer, that was the point. “I like following those threads,” he says. “With costume, you can do things that are more subtle, whereas sometimes in fashion, it has to be loud.”
Anderson, best known for his work at JW Anderson and Loewe, approaches film costume not as a separate discipline, but as an extension of his design philosophy— one that is deeply attuned to history, materiality, and the space between artifice and reality. Queer—set in 1950s Mexico City—exists in that in-between space, a world where memory and fiction collapse into each other. Burroughs’ novel is as much about the instability of perception as it is about longing, and Anderson’s costumes reflect that dissonance.
One of the most striking examples is a translucent shirt worn by Drew Starkey’s Eugene Allerton, a
Photo: Yannis Drakoulidis
Photo: Yannis Drakoulidis
Photo: Yannis Drakoulidis
character who, in Burroughs’ words, seems to be “melting.” The shirt, sourced from the period, is ghostly—its sheerness revealing the outline of Starkey’s body, the flicker of a cigarette pack in his pocket. “You’re trying to work out: Is this real, or is this an exaggerated version of what people wore?” Anderson muses. That question—of authenticity versus artistic invention—sits at the core of Queer’s visual language. It is a film about perception, and the costumes function as clues, or disruptions, within that hallucinatory framework.
Sourcing period-accurate garments was central to Anderson’s approach, but it wasn’t about nostalgic recreation. Mexico, as imagined in Queer, is not a documentary setting but a composite—pieces of reality stitched together with fragments of memory and fantasy. “There are parts of Mexico in the book that do not exist, but there are parts that do,” Anderson notes. The costumes navigate that same liminal space. Everything is from the 1950s, but often, the garments feel slightly off-kilter—too pristine, too worn, too cinematic.
Shooting on film heightened Anderson’s obsession with texture. “Those textures you find in the 1950s or ’60s with the clothing—it’s never just a flat surface,” he explains. The materials—linen, wool, delicate synthetics—
absorb light differently, creating a depth that digital film often flattens. It’s an aspect of cinema that Anderson finds fascinating, a stark contrast to the controlled environment of the runway. “In film, you have to lure the audience in and let them know who the character is in a way that unfolds,” he says.
That idea—of the slow reveal—guides Anderson’s costume philosophy in Queer. Lee’s journey, both emotional and physical, is charted in fabric: the initial sharpness of his attire, its slow unraveling, the way the clothes betray his internal undoing. Queer is a film about dissolution—the erosion of control, the blurring of reality—and its costumes are complicit in that descent.
For Anderson, working on Queer was an act of translation: of history into fiction, of fashion into narrative. It was also, perhaps, a way of stepping outside the rigor of fashion’s seasonal churn. “I like film because you don’t have to sell a product,” he admits. But there is something deeply commercial in what Queer’s costumes do best: they sell an idea. Not of Mexico City, or of the 1950s, but of a world that flickers between presence and absence, reality and hallucination—where a cigarette pack, glimpsed through gauzy fabric, feels like a memory you can almost touch.
Photo: Yannis Drakoulidis
Poster created by Tony Shafrazi
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The Frick Returns
A CHERISHED MUSEUM REOPENS AFTER A THOUGHTFUL TRANSFORMATION
as the frick collection prepares to reopen its doors in April 2025, following a highly anticipated renovation, the art world is eagerly awaiting the opportunity to experience the museum’s distinctive character anew. For many, the Frick has long been a cherished institution, renowned for its stunning collection of European art and the unique opportunity it provides to experience masterpieces in the intimate setting of a Gilded Age mansion.
One of the Frick’s most enduring attractions is its intimate and domestic scale. Unlike the sprawling metropolises of modern art that dominate the city’s museum landscape, the Frick is a gem of a museum that invites visitors to slow down and savor the art on display. As the art critic and historian John Russell once observed, “The Frick is a museum that knows its own mind, and is not afraid to be itself... It is a place of unassuming elegance, where the
visitor can move at his own pace, and enjoy the art without being hustled or hectored.”
But the Frick’s allure goes beyond its art collection. The museum’s historic mansion, once the home of industrialist Henry Clay Frick, offers a fascinating glimpse into the lives of New York City’s Gilded Age elite. As visitors wander through the museum’s galleries, they can’t help but feel like they’re exploring a private mansion, rather than a public museum. The Frick’s grand staircase, intricate moldings, and ornate furnishings all serve as a testament to the lavish lifestyle of the Frick family and their contemporaries.
While the collection as a whole is a marvel, several key works embody the richness and diversity of the museum’s holdings. Among them is Giovanni Bellini’s St. Francis in the Desert, a deeply meditative work that invites viewers into the profound spirituality of its subject. The luminous Venetian light and the intricate details of flora and fauna create a harmony between the divine and the earthly, encapsulating Bellini’s mastery of atmosphere and emotion. St. Francis’s serene posture and his communion with nature are themes that resonate timelessly, making this painting a cornerstone of the collection. Another highlight is Jean-Auguste-Dominique Ingres’s Louise, Princesse de Broglie, Later the Comtesse d’Haussonville. The portrait is a study in elegance and psychological depth, showcasing Ingres’s unparalleled skill in rendering fabric, light, and skin. The sitter’s reflective
The Frick Collection from East 70th Street; rendering courtesy of Selldorf Architects
Jean-Auguste-Dominique Ingres (1780–1867)Louise, Princesse de Broglie, Later the Comtesse d’Haussonville, 1845Oil on canvas51 7/8 x 36 1/4 inchesThe Frick Collection, New YorkPhoto: Michael Bodycomb
gaze and the sumptuous folds of her silk dress create an air of refinement, while the precision of Ingres’s lines hints at a quiet strength beneath her composed exterior. This work captures both the grandeur and subtlety of nineteenth-century portraiture.
James McNeill Whistler’s Symphony in Flesh Colour and Pink: Portrait of Mrs. Frances Leyland exudes a more modern sensibility, balancing opulence and restraint. Whistler’s soft tonal palette and his emphasis on aesthetic harmony over strict realism make this painting a masterpiece of suggestion rather than explicit detail. Mrs. Leyland’s poised demeanor and the interplay of pinks and
James McNeill Whistler (1834–1903) Symphony in Flesh Colour and Pink:
Portrait of Mrs. Frances Leyland, 1871–74Oil on canvas77 1/8 x40 1/4
inchesThe Frick Collection, New York. Photo: Joseph Coscia Jr.
Rembrandt Harmensz. van Rijn (1606–1669)
Self-Portrait, 1658 Oil on canvas 52 5/8 x 40 7/8 inches
The Frick Collection, New York
Photo: Michael Bodycomb
Giovanni Bellini (ca. 1424/35–1516)
St. Francis in the Desert, ca. 1475–80 Oil on panel 49 1/16 x 55 7/8 inches
The Frick Collection, New York
Photo: Michael Bodycomb
golds convey an ethereal elegance, embodying Whistler’s vision of art as a “symphony” of form and color.
Rembrandt’s Self-Portrait (1658) offers a powerful counterpoint with its raw humanity and psychological insight. Painted during a period of personal and financial hardship, this work reveals the artist’s resilience and unflinching self-awareness. The thick, almost sculptural application of paint and the play of light across Rembrandt’s furrowed brow and weathered face make this self-portrait an unforgettable testament to the enduring power of the artists ability to capture truth in portraiture.
Finally, Giovanni Battista Moroni’s Portrait of a Woman exemplifies the elegance of sixteenth-century portraiture. The sitter’s direct gaze and the subtle rendering of her hands convey both individuality and decorum, while Moroni’s use of light and shadow brings her presence vividly to life. The understated yet captivating quality of this painting invites prolonged contemplation, reflecting Moroni’s gift for capturing the essence of his subjects.
The Frick’s renovation has carefully preserved the museum’s historic character while introducing a range of exciting new spaces and amenities. The transformation of the second floor, formerly the Frick family’s private living quarters, into a suite of new galleries is a major highlight of the project. Among the treasures on display and a favorite of the museums devotees is the reinstalled Fragonard Room, a breathtaking space featuring a suite of eighteenth-century French panels painted by Jean-Honoré Fragonard. As The Frick Collection prepares for its next chapter, these masterpieces and the intimate, atmospheric setting in which they reside promise to continue captivating visitors, just as they have for generations.
The Frick Collection,
Gift of the Assadour O. Tavitian Trust, 2022
Photo: Joseph Coscia Jr
The Fragonard Room of The Frick Collection (shot prior to the renovation); photographer Michael Bodycomb
Jean-Honoré Fragonard (1732-1806)
The Progress of Love: Love Letters, 1771-72, Oil on canvas
124 7/8 x 85 3/8 inches
The Frick Collection, New York
Photo: Joseph Coscia Jr.
Johannes Vermeer (1632-1675)
Mistress and Maid, ca. 1666-67
Oil on canvas, 351/2 x 31 inches
The Frick Collection, New York
Photo: Joseph Coscia Jr.
The iconic Casa Pueblo in Punta Ballena
Photography by Pascula Paolucci
Punta del Este: An Insider’s Guide
DESIGNER HASSEN BALUT SHARES AN INTIMATE PERSPECTIVE ON PUNTA DEL ESTE’S ART, CULTURE, AND BEAUTY
Punta del Este has long been known as a jet-set escape, where golden beaches and sleek architecture meet the untamed beauty of the Atlantic. But beyond the postcard-perfect views and summer glamour, there’s a deeper pulse to this place—one that reveals itself through its art, its design, and the way life moves at its own effortless pace.
To truly understand Punta, you need the perspective of someone who knows it intimately—not just as a destination, but as a place that shapes and inspires. Designer Hassen Balut has spent years immersed in its landscape, its cultural spaces, and the details that give it character. From hidden art gems to architectural icons, from vibrant dining spots to the quiet corners where Punta’s essence is best felt, Balut offers a guide not just to where to go, but how to see this place through the eyes of someone who calls it home.
punta del este holds a special place in my heart— not just as a gathering spot for friends and family, but as one of the world’s best-kept secrets. Having traveled extensively for work and inspiration, I’ve visited many beautiful destinations, but none capture the same feeling that Punta does so effortlessly.
There’s something in the air here, something intangible yet undeniable. The people, the landscapes, the effortless blend of elegance and warmth—it all contributes to an atmosphere that makes every visitor feel like they belong. The city’s aesthetics, from its endless beaches to its charming cafés, encourage you to slow down, take in the moment, and disconnect from the routine of daily life.
What sets Punta apart is its unique energy—a balance of sophistication and authenticity, where glamour never overshadows simplicity. It’s more than a destination; it’s a rhythm, a way of life. The light here is different, shifting from morning’s brilliant reflections on the ocean to the golden hues of late afternoon. The air carries the scent of salt, pine, and the distant aroma of a parrilla heating up for the evening.
Mornings often begin with a walk along La Brava, where waves crash with a wild energy that’s more effective than any espresso. At its edge stands La Mano, Mario Irarrázabal’s iconic sculpture—giant fingers rising from the sand as if the earth itself were reaching for the sky. No matter how many times you see it, it never loses its impact, a reminder that Punta leaves an imprint on those who visit.
Photography by Patricia Llano
A drive along the coast leads to Casapueblo, Carlos Páez Vilaró’s whitewashed masterpiece perched on the cliffs. Part museum, part hotel, part sculpture, it took him 36 years to complete, and yet it feels like it has always belonged to the landscape. Further inland, MACA (Museo de Arte Contemporáneo Atchugarry) is a mustsee, set within 45 hectares of stunning scenery. Its open spaces showcase contemporary works alongside Pablo Atchugarry’s own sculptures, which seem to defy gravity. Nearby, Skyspace, a meditative installation by James Turrell, invites visitors to experience light in a completely new way. Sitting inside at dusk, watching the sky transform through the aperture above, is an experience that lingers long after you leave.
Punta’s contemporary art scene thrives in unexpected corners. Fundación Cervieri Monsuárez, founded in 2024 by Virginia Cervieri and Pablo Monsuárez, brings together Latin American artists in a striking space designed by the late Rafael Viñoly. Silu Studio, a fusion of art,
design, and craftsmanship, offers one-of-a-kind works that reflect the creative energy of the region.
Evenings in Punta are a celebration of food and atmosphere. La Huella in José Ignacio is the quintessential beachfront restaurant, where wood-fired seafood and a laid-back energy keep people coming back. Further inland, Marismo offers dining under the stars, with tables set in the sand and dishes cooked over an open fire. For something truly special, Restaurante Garzón, in Francis Mallmann’s countryside retreat, turns each meal into an art form, where fire and time shape every dish.
And no night in Punta is complete without a stop at Medialunas Calentitas. A warm, flaky medialuna at dawn is a simple pleasure, but often, those are the ones that stay with you the longest.
Punta del Este isn’t just a resort town; it’s a place of contrasts—energy and tranquility, tradition and reinvention. It’s a destination that lingers with you, revealing its beauty in every season, long after summer has faded.
Playa Brava, a popular beach for surfers
Cipriani Resort Residences and Casino in Punta del Este will open in 2026
Fundación Cervieri Monsuárez in Jose Ignacio. Courtesy of Fundación Cervieri Monsuárez. Photo: Francisca Vivo
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The Art of Wes Anderson: A Cinematic Wonderland
A RETROSPECTIVE CELEBRATES THE PROPS, COSTUMES, AND WORLDS OF THE VISIONARY FILMMAKER.
in wes anderson’s world , design is more than a backdrop—it’s a character, a narrative device, and a guiding principle that shapes every frame. With the launch of the first retrospective of his work, Wes Anderson: The Exhibition, the spotlight turns to the director’s seamless integration of visual storytelling and cinematic artistry. The exhibition, opening at La Cinémathèque française in March 2025 and later at the Design Museum in London, dives deep into Anderson’s universe—a world of symmetrical compositions, color-coded palettes, and intricate, almost obsessive, attention to detail.
Anderson himself credits Henri Langlois, the pioneering founder of La Cinémathèque française, as a formative influence. “I indirectly trace my own movie education to Henri Langlois and his acolytes,” Anderson remarked. Langlois’s ethos of preserving not just films but the essence of cinema—costumes, props, posters—finds
resonance in Anderson’s work, where every element feels curated, deliberate, and essential. In many ways, Anderson’s films are an homage to Langlois’s vision: a fusion of nostalgia, artistry, and an unyielding love for cinema.
The exhibition promises to bring this vision to life, showcasing original props, costumes, and insights into Anderson’s creative process. From the faded grandeur of The Royal Tenenbaums to the childlike wonder of Moonrise Kingdom, and the meticulous stop-motion sets of Fantastic Mr. Fox, Anderson’s design sensibility is inextricably tied to his storytelling. His films are not just seen—they’re experienced, each frame a tableau rich with layers of meaning.
What sets Anderson apart is how design informs every aspect of his production, shaping not just aesthetics
but also narrative. His long-time collaborations with production designer Adam Stockhausen and costume designer Milena Canonero have created a distinct visual language. Each film feels like stepping into a self-contained world where every object, every stitch of fabric, has a story to tell.
Take the whimsical yet melancholic charm of The Grand Budapest Hotel. The pastel hues and Art Deco motifs are not just visual flourishes—they reflect the fragility and fleeting beauty of the world Anderson portrays. Similarly, the tightly packed, miniature-like train compartments of The Darjeeling Limited echo the brothers’ cramped emotional journeys, while the vibrant red uniforms in The Life Aquatic with Steve Zissou become a symbol of both camaraderie and isolation.
Anderson’s use of design aligns him with auteurs like Jean-Pierre Jeunet and Terry Gilliam, who also understood the narrative power of space and detail. Jeunet’s
whimsical, hyper-stylized worlds in Amélie and Delicatessen are rich with visual storytelling, using quirky design elements to evoke a sense of magic and eccentricity. Similarly, Gilliam’s surreal, dystopian landscapes in Brazil and The Adventures of Baron Munchausen demonstrate how meticulous design can heighten the absurd and fantastical elements of a story. All three directors use design as an extension of their storytelling, transforming physical spaces into emotional and thematic landscapes.
This philosophy is exemplified in Anderson’s The French Dispatch, a love letter to The New Yorker and its idiosyncratic contributors. Just as he celebrated the unique voices of writers like James Baldwin and Joseph Mitchell, Anderson’s films reflect his belief in the power of a distinctive signature style. “I have a way of filming things and staging them and designing sets. There were times when I thought I should change my approach, but in fact, this is what I like to do. It’s sort of like my handwriting as a movie director. And somewhere along the way, I think I’ve made the decision: I’m going to write in my own handwriting,” he remarked. In both his films and this particular tribute, Anderson affirms that individuality, whether in writing or filmmaking, is central to creating something enduring.
Anderson further elaborates, “That’s the kind of movie that I like to make, where there is an invented reality and the audience is going to go someplace where hopefully they’ve never been before. The details, that’s what the world is made of.” This philosophy underscores his approach: transporting viewers to meticulously imagined worlds where the smallest details build the foundation of an entirely unique reality.
With Wes Anderson: The Exhibition, visitors are invited to explore not just the art of filmmaking but the craft of world-building. As Anderson continues to inspire a new generation of cinephiles, his work reminds us of the power of design—not just to shape how we see the world but to shape the stories we tell within it.
Anderson’s enduring partnership with Langlois’s legacy through La Cinémathèque française comes full circle with this retrospective. It’s a fitting tribute to a director whose films feel like living museums, preserving not just moments but entire worlds.
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Rissa in galleria
Umberto Boccioni
tela
Milan’s Modernist Dream, Realized
for fifty years, Palazzo Citterio stood in limbo— an elegant ghost haunting the streets of Milan’s historic district, its grand 18th-century facade a silent witness to a half-century of false starts and broken promises. Today, the silence is over. At long last, the doors have opened, and within them, the long-envisioned expansion of Milan’s artistic landscape has taken tangible, breathtaking form.
Palazzo Citterio is more than just a museum. It is the long-awaited missing piece of a grand cultural vision dating back to the 1970s, when Italy acquired the property with the intention of expanding the Pinacoteca di Brera, Milan’s historic national gallery. Known as the “Grande Brera” project, the plan sought to unite a constellation of cultural institutions—the Pinacoteca, the Braidense National Library, and a modern art museum—into a single, interconnected artistic hub.
That dream was easier imagined than realized. Decades of bureaucratic roadblocks, restoration mishaps, and funding issues turned Palazzo Citterio into a symbol of artistic aspiration perpetually deferred. But Milan, a city that thrives on reinvention, has finally delivered. With the palace’s restoration complete and its exhibition halls filled,
modern Italian art now has a home worthy of its legacy.
At the heart of Palazzo Citterio’s opening is its collection—an extraordinary assemblage of 20th-century Italian art, sourced from two seminal private collections: the Jesi Collection and the Vitali Collection. These names might not be as instantly recognizable as the Medici or the Getty, but within them lies a revolution in paint and form, a dialogue between tradition and modernism that helped define Italian art in the early and mid-20th century.
The Jesi Collection, gifted to the state in the 1970s by the industrialist Lamberto Vitali and collector Emilio Jesi, represents a golden era of Italian avant-garde. Here, visitors can encounter the raw dynamism of Umberto Boccioni’s “Dynamism of a Cyclist”, a swirling vision of speed and motion that captures the heartbeat of Futurism. Nearby, Giorgio Morandi’s still lifes exude a quiet, monastic discipline—bottles and vessels rendered with meditative precision, whispering of a world beyond the chaos of modernity.
Then there’s Amedeo Modigliani, the wandering soul of Italian modernism, whose elongated portraits gaze out with the melancholic elegance of figures caught be-
tween worlds. His “Portrait of Jeanne Hébuterne”, included in the collection, is a masterpiece of subtle emotion—eyes heavy with longing, form elongated like a figure in a Renaissance fresco, yet utterly modern in its execution.
The Vitali Collection, meanwhile, adds a broader European dimension. There’s a stunning Pablo Picasso from his Blue Period, its figures draped in shadow and sorrow, a testament to the artist’s relentless reinvention. Works by René Magritte and Georges Braque further enrich the collection, offering glimpses of Surrealism’s dreamscapes and Cubism’s fragmented realities.
To fully appreciate the significance of Palazzo Citterio, one must understand the institutions it now joins. The Pinacoteca di Brera, Milan’s prestigious national art gallery, is home to an unparalleled collection of Renaissance and Baroque masterpieces. Caravaggio’s “Supper at Emmaus”, Mantegna’s “Dead Christ”, and Raphael’s “Marriage of the Virgin” define its hallowed halls. Until now, however, the museum lacked sufficient space to house a proper modern art collection—a glaring omission for a city that has long been at the forefront of contemporary artistic movements.
Palazzo Citterio Foto: Walter Vecchio
PALAZZO CITTERIO COMPLETES THE GRANDE BRERA DREAM
Then there’s the Braidense National Library, founded in the 18th century and one of Italy’s most significant historical archives. It houses over a million volumes, including rare manuscripts and illuminated texts that trace the evolution of knowledge through centuries. Together with the Pinacoteca and Palazzo Citterio, these institutions form the “Grande Brera”—a cultural nexus that positions Milan alongside Florence’s Uffizi and Rome’s Capitoline Museums in terms of artistic prestige.
The opening of Palazzo Citterio is more than just the completion of a long-delayed project; it is a statement of Milan’s role in the global art world. In recent years, the city has seen an explosion of cultural reinvigoration, from the expansion of Fondazione Prada to the rise of contemporary art fairs such as Miart.
With this new addition, Milan has at last given modern art its proper stage, not in a cold white cube or a glass-and-steel tower, but within the walls of history itself. The dialogue between past and present is now complete— Bramante’s Renaissance architecture, the dreamlike distortions of Modigliani, the kinetic urgency of Boccioni, all in conversation under one roof.
A fifty-year journey has ended. The ghost of Palazzo Citterio has become flesh, and Milan’s artistic future has never looked brighter.
Natura morta
Testa di toro Pablo Picasso
1942
Olio su tela cm 116 x 89
Madre e figlio Carlo Carrà
tela
Maternità Gaetano Previati
Olio
tela
comodato Banca Popolare di Milano
Icons of Elegance
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