Spring 2024 Issue
MACK recently published Sofia Coppola: Archive 1999–2023, the first publication to chronicle Coppola’s entire body of work in cinema. Comprised of the filmmaker’s personal photographs, developmental materials, drafted and annotated scripts, collages, and unseen behind-the-scenes photography from all of her films, the monograph offers readers an intimate look into the process behind these films.
Kirsten Dunst on the set of The Virgin Suicides (1999), directed by Sofia Coppola. Photo: Sofia Coppola, from Archive (MACK, 2023)
Kirsten Dunst on the set of The Virgin Suicides (1999), directed by Sofia Coppola. Photo: Sofia Coppola, from Archive (MACK, 2023)
Art making, and in Sofia’s case specifically film making, exists largely outside the realm of words. The work she creates comes into being by harnessing a kind of visual intuition with a rhythm and form that is mysterious and undulating, even tidal.
The set of The Bling Ring (2013), directed by Sofia Coppola. Photo: Sofia Coppola, from Archive (MACK, 2023)
Sofia Coppola on the set of Marie Antoinette (2006) directed by Sofia Coppola. Photo: Sofia Coppola, from Archive (MACK, 2023)
Scarlett Johansson on the set of Lost in Translation (2003), directed by Sofia Coppola. Photo: Andrew Durham, from Archive (MACK, 2023)
With each film, she conjures a magical world that is both complex and quiet. In the process, she finds her own language that is separate from the dominant strain, in harmony with the imagery.
Bill Murray on the set of Lost in Translation (2003), directed by Sofia Coppola. Photo: Sofia Coppola, from Archive (MACK, 2023)
Elle Fanning on the set of The Beguiled (2017), directed by Sofia Coppola. Photo: Andrew Durham, from Archive (MACK, 2023)
This book is a peek into Sofia’s instrument at work.
—Rainer Judd
Photos: courtesy the artist and MACK
The “Gagosian & Film” supplement also includes: “Adaptability,” “Not Running, Just Going,” “Whit Stillman,” “On Frederick Wiseman”, and “You Don’t Buy Poetry at the Airport: John Klacsmann and Raymond Foye”
Sofia Coppola, Sofia Coppola: Archive 1999–2023 (MACK, 2023)
Ahead of Alex Israel’s exhibition of four new Fin sculptures at Gagosian, London, the artist spoke with Susan Casey, author of The Wave: In Pursuit of the Rogues, Freaks, and Giants of the Ocean (2010), about the ocean, surfing, and Los Angeles.
On July 9, Simon Hantaï: the last studio opens at Gagosian, Gstaad. Curated by Anne Baldassari, the show comprises sixteen of the artist’s dernier atelier (last studio) paintings of 1982–85. The exhibition is accompanied by an illustrated catalogue, copublished by Gagosian and Skira, which features an essay by Baldassari and an extensive portfolio of previously unpublished photographs by Édouard Boubat. Here, we share the introductory chapter from the publication.
Adam D. Weinberg has been working with Giuseppe Penone on an exhibition of the artist’s new sculptures, The Reflection of Bronze, that opens at Gagosian, New York, on April 22. The works explore the character and possibilities of bronze. Here, Weinberg considers Penone’s enduring engagement with the alloy and addresses the conceptual underpinnings of the exhibition’s three-room structure.
Laura Bruni writes about a major exhibition celebrating the work of the British sculptor Henry Moore at the Royal Botanic Gardens, Kew, London.
On the occasion of Baselitz: AVANTI! at the Museo Novecento in Florence, Italy, Holly EJ Black considers the roots and reverberations of Georg Baselitz’s printmaking.
Mark Franko considers how Emily Coates resurrects the spirit of George Balanchine’s American beginnings through archival research, spoken dialogue, and movement in her performance Tell Me Where It Comes From.
Carlos Valladares wades through the discourse around the musician and actress Charli XCX’s mockumentary, guiding us through its myriad references, from the Spice Girls to Andy Warhol.
From the perspectives of their respective fields, three international cultural figures—artist and designer Ronan Bouroullec, fashion visionary Michèle Lamy, and chef and restaurateur Enrique Olvera—reflect on Donald Judd’s work in furniture, the subject of recent exhibitions in South Korea and Japan.
Janne Sirén considers Anselm Kiefer’s new paintings, the subject of an exhibition at Gagosian, New York, entitled Seal My Ears Shut and I Shall Hear You Still.
On the occasion of the exhibition Francesca Woodman: Lately I Find a Sliver of Mirror Is Simply to Slice an Eyelid at Gagosian, Rome, Alyce Mahon explores the artist’s engagements and affinities with Surrealism, from the writings of André Breton to the photographs of Hans Bellmer. Mahon focuses on the time Woodman spent in Rome while she was a student at the Rhode Island School of Design.
Francis Bacon lived and worked in Paris for a decade starting in the mid-1970s. The city and the art he encountered there provided a profound backdrop for his austere late style, which often brings together smooth, colorful backgrounds, spare architectural signifiers, and sculptural human forms. Here, three striking paintings from that period are considered by Sebastian Smee.
Sharad Chari reflects on a recent visit to Ellen Gallagher’s studio in Rotterdam, Netherlands, thinking through the artist’s intertextual interrogation of the oceanic and the ways in which her practice is informed by a wider Black intellectual and artistic world, an abiding interest in Herman Melville’s Moby-Dick, and the imperatives that surround this studio by the Port of Rotterdam.