Behind the Art
In an interview with Kay Pallister, the artist explains his relationship to drawing and the importance of time in his site-specific works.
Laws of Motion
Catalyzed by Laws of Motion—a group exhibition, curated by Sam Orlofsky, pairing artworks from the 1980s on by Jeff Koons, Cady Noland, Rosemarie Trockel, and Jeff Wall with contemporary sculptures by Josh Kline and Anicka Yi—Wyatt Allgeier discusses the convergences and divergences in these artists’ practices with an eye to the economic worlds from which they spring.
Carlos Valladares explores the cinema of Pier Paolo Pasolini, tracking the developments and lasting influence of the auteur’s singular career.
Desert Painters of Australia
Steve Martin and Anne Stringfield’s collection of contemporary Indigenous Australian painting spans three generations of the “Desert Painters” of remote regions of Central and Western Australia. Louise Neri talks with Martin about his collecting passion, and about an exhibition that presents works from their collection along with a key loan from the Kluge-Ruhe Aboriginal Art Collection at the University of Virginia. Their conversation is followed by commentary on these works by Martin’s friend Fred Myers, a longtime aficionado of the Desert artists.
On the occasion of a career-spanning exhibition at the Gallerie dell’Accademia, Venice, Richard Calvocoressi tracks the evolution of Georg Baselitz’s development from his early education in East Germany to his revelatory trip to Florence, in 1965, and beyond.
Neil Jenney’s Rules to Live By
The artist speaks with Douglas Dreishpoon about his career, his conception of the term “realism,” and why one must discover one’s own rules.
Cast of Characters
James Lawrence explores how contemporary artists have grappled with the subject of the library.
On the occasion of the exhibition Pittura/Panorama: Paintings by Helen Frankenthaler, 1952–1992, at the Museo di Palazzo Grimani in Venice, Italy, art historians John Elderfield and Pepe Karmel discuss the concept of the panorama in relation to the artist’s work. Their conversation traces developments in Frankenthaler’s approach to composition, the boundaries and conventions of abstraction, and how, in many ways, her career continually challenged established theories of art history.
Anna Eavis, the curatorial director of English Heritage, traces the history of Kenwood House and details the remarkable collection of paintings that reside there.