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Edmund de Waal

Edmund de Waal was appointed a Commander of the Order of the British Empire (CBE) in Queen Elizabeth II’s 2021 birthday honors list for his service to the arts as a potter and a writer. The title CBE is bestowed to individuals who have made distinct and innovative contributions to the United Kingdom.

Edmund de Waal. Photo: Tom Jamieson

Edmund de Waal. Photo: Tom Jamieson

Related News

Edmund de Waal: Letters to Camondo (London: Penguin Random House, 2021)

In Conversation

Edmund de Waal
Adam Gopnik

Thursday, May 20, 2021, 6:30pm EDT

Join the Jewish Museum, New York, for a conversation between Edmund de Waal and author Adam Gopnik to celebrate the US launch of de Waal’s new book Letters to Camondo. The pair will discuss the book’s themes, including assimilation, art, and the essence of memory. Letters to Camondo consists of a series of haunting letters de Waal wrote to Count Moïse de Camondo—the owner of a Parisian palace turned into a memorial for his son lost in the First World War, now known as the Musée Nissim de Camondo. The Camondo family lived in Paris a few doors away from de Waal’s forebears, the Ephrussis. Both families were collectors and part of belle epoque society; both were also targets of anti-Semitism. To attend the event, register at thejewishmuseum.org.

Edmund de Waal: Letters to Camondo (London: Penguin Random House, 2021)

Edmund de Waal. Photo: Tom Jamieson

In Conversation

Edmund de Waal
Olivier Gabet

Tuesday, April 20, 2021, 2pm EDT

Edmund de Waal will speak with Olivier Gabet, director of the Musée des Arts Décoratifs and the Musée Nissim de Camondo, Paris, about the themes explored in his new book, Letters to Camondo—to be released in the United Kingdom on April 22—including assimilation, art, and the essence of memory. The book consists of a series of haunting letters de Waal wrote to Count Moïse de Camondo—the owner of a Parisian palace turned into a memorial for his son lost in the First World War, now known as the Musée Nissim de Camondo. The Camondo family lived in Paris a few doors away from de Waal’s forebears, the Ephrussis. Both families were collectors and part of belle epoque society; both were also targets of anti-Semitism. To attend the event, purchase tickets at www.vam.ac.uk.

Edmund de Waal. Photo: Tom Jamieson

Installation view, Elective Affinities: Edmund de Waal at the Frick Collection, Frick Collection, New York, May 30–November 17, 2019. Artwork © Edmund de Waal

In Conversation

Edmund de Waal
Sally Mann

Friday, November 8, 2019, 6:30–7:30pm
Frick Collection, New York
www.frick.org

In conjunction with the exhibition Elective Affinities: Edmund de Waal at the Frick Collection, artist and writer Edmund de Waal will speak with Sally Mann about art and writing, and about the pair’s individual practices. The event has reached capacity. To join the wait list, RSVP to edevents@frick.org.

Installation view, Elective Affinities: Edmund de Waal at the Frick Collection, Frick Collection, New York, May 30–November 17, 2019. Artwork © Edmund de Waal

Walter De Maria, The Lightning Field, 1977, long-term installation, western New Mexico. Artwork © Estate of Walter De Maria. Photo: John Cliett, courtesy Dia Art Foundation, New York, and © Estate of Walter De Maria

Light and Lightning: Wonder-Reactions at Walter De Maria's The Lightning Field

In this second installment of a two-part essay, John Elderfield resumes his investigation of Walter De Maria’s The Lightning Field (1977), focusing this time on how the hope to see lightning there has led to the work’s association with the Romantic conception of the sublime.

Carrie Mae Weems’s The Louvre (2006), on the cover of Gagosian Quarterly, Summer 2021

Now available
Gagosian Quarterly Summer 2021

The Summer 2021 issue of Gagosian Quarterly is now available, featuring Carrie Mae Weems’s The Louvre (2006) on its cover.

View of the Valentino Haute Couture offices, Paris, including couture and artworks. Photo: © Gregory Copitet

Fashion & Art: Valentino Des Ateliers

Author and curator Gianluigi Ricuperati speaks to the Quarterly’s Wyatt Allgeier about his curatorial involvement in Valentino Des Ateliers, a collaborative project devised by Valentino’s creative director, Pierpaolo Piccioli, in partnership with Ricuperati. Working in a symbiotic manner, Piccioli and the Valentino Haute Couture team engaged in a dialogue with artists Joel S. Allen, Anastasia Bay, Benni Bosetto, Katrin Bremermann, Guglielmo Castelli, Maurizio Cilli, Danilo Correale, Luca Coser, Jamie Nares, Francis Offman, Andrea Respino, Wu Rui, Sofia Silva, Alessandro Teoldi, Patricia Treib, and Malte Zenses, along with the participation of Kerstin Bratsch, to arrive at a singular couture collection.

Spencer Sweeney, Self-Portrait Morning Gown, Records, 2019, oil on canvas, 66 x 42 inches (167.6 x 106.7 cm)

Shortlist
Mixtape: Spencer Sweeney

Spencer Sweeney shares a selection of songs that have punctuated his journey through the pandemic and ponders the expressive powers of a playlist.

Taryn Simon, “Folder: Broken Objects” (detail), from the series The Picture Collection, 2012, framed archival inkjet print, 47 × 62 inches (119.4 × 157.5 cm) © Taryn Simon

The New York Public Library’s Picture Collection

Joshua Chuang, the Robert B. Menschel Senior Curator of Photography at the New York Public Library, discusses the institution’s singular Picture Collection, the artist Taryn Simon’s rigorous engagement with it, and four instances of its little-known role in the history of art making.

Installation view, Nancy Rubins: Fluid Space, Gagosian, Beverly Hills, June 24–August 6, 2021.

Conclusions Never Reached: Nancy Rubins in Fluid Space

Sara Softness reflects on a new series of sculptures by Nancy Rubins, Fluid Space (2019–21), “visual poems” that hint at the invisible and the unknown.

Theaster Gates, A Song for Frankie, 2017–21, 5,000 records, DJ booth, and record player

Social Works: The Archives of Frankie Knuckles Organized by Theaster Gates

Theaster Gates, steward of the Frankie Knuckles record collection, is engaging with the late DJ and musician’s archive of records, ephemera, and personal effects. For the Quarterly’s “Social Works” supplement, guest edited by Antwaun Sargent, Gates presents a selection of Knuckles’s personal record collection. Chantala Kommanivanh, a Chicago-based artist, educator, and musician—and the records manager for Rebuild Foundation, Chicago—provides annotations, contextualizing these records’ importance and unique qualities. Ron Trent, a dear friend of Knuckles’s, speaks to the legacy evinced by these materials.

Tatiana Trouvé, April 4th, The New York Times; April 11th, South China Morning Post, China from the series From March to May, 2020, inkjet print and pencil on paper, 19 ⅞ × 26 ¾ inches (50.4 × 68 cm)

Tatiana Trouvé: From March to May

A portfolio of the artist’s drawings made during lockdown. Text by Jesi Khadivi.

Taryn Simon, details from An American Index of the Hidden and Unfamiliar, 2007; A Living Man Declared Dead and Other Chapters I–XVIII, 2008–11; A Cold Hole, 2018; An Occupation of Loss, 2016; and Paperwork and the Will of Capital, 2015

In Conversation
Taryn Simon and Teju Cole

This spring, as part of the Lambert Family Lecture Series at the Wexner Center for the Arts, Taryn Simon joined Teju Cole for an online conversation about her artistic practice and creative process.

Carrie Mae Weems, Lewitt’s Wall, 2006

Social Works: Carrie Mae Weems and Maya Phillips

A pairing of photography and poetry from “Social Works,” a supplement guest edited by Antwaun Sargent for the Summer 2021 issue of the Quarterly.

Gregory Corso, New York, 1986. Photo: Allen Ginsberg

Gregory Corso: A Most Dangerous Art

On the occasion of the forthcoming publication of The Golden Dot: Last Poems by Gregory Corso, Raymond Foye reflects on the poet’s enduring engagement with the human condition and explores the unique structure of this final collection.

Dennis Hopper, 1969. Photo: Columbia Pictures/Album/Alamy Stock Photo.

Dennis Hopper’s Taos Ride

Douglas Dreishpoon reflects on speaking with Hopper at the Harwood Museum of Art, Taos, New Mexico, in 2009.