Chanel, Grand Palais
Peggy Guggenheim by Alice Tye for Printed Pages
"If our understanding of male genius is of near-autism — a mind that, rather like Spinoza’s God, neither needs nor loves us in return — then it is tempting to see Dumas as an exemplar of a heretofore all-but-unheralded form of genius, one specifically female. She’s open, giving, relational, fluid."
"We spent an hour or two there in the summertime’s prolonged gloaming, watching the light change upon the silvery rippling water, discussing the nature of white and unpainted plaster walls; the wide range of the color blue (truest, apparently, in forget-me-nots) and hoping for an experience of the “Purkinje effect” — so named after the 19th-century Czech scientist: “He was the first to observe that, with twilight, the warm colors — especially red — recede, implode,” Dumas said, “and the cool colors, the blues, begin to glow.”
Claire Messud on Marlene Dumas, T Magazine
Constantin Brancusi, Mademoiselle Pogany II, c. 1919-20
Max Ernst at Peggy Guggenheim’s home, New York, fall 1942
photograph by Hermann Landshoff
AiA, August 2014
Kukkapuro, Out of the Blue, Gestalten 2014
Collaborated with Nokia/Microsoft and shot Vuokko Nurmesniemi, Yrjö Kukkapuro, Kari Virtanen, Harri Koskinen, Eero Aarnio, Fujiwo Ishimoto and Marimekko for “Out of the Blue”, celebrating finnish desing and art. Published by Gestalten and out now. #gestalten #osmaharvilahti #finland#nokia #microsoft #book
Peter Mendulsend: No, there’s nothing like a physical book, but that doesn’t eliminate the need for a digital book. It’s interesting—I taught a class recently at Sarah Lawrence College, and I got the chance to be among people younger than I am, to find out what the hell is going on with kids. So I asked them to talk to me about digital versus physical books, and the thing that I found incredible about that whole group of college-aged kids is not just that they read across media and platforms, but that they had very clear ideas about which was good for what. It wasn’t a question of one medium replacing another. Yes, of course e-books are great for traveling, text books … what I loved about it was that it wasn’t a binary equation. It’s more that they have this very sophisticated—I love how I’m talking about them as if they’re Martians, but of course, they are to me—
Christopher King: Well, Sarah Lawrence students—
Without skipping a beat, she said, “They tore down my wonderful studio there. They put a Chemical Bank in its place. I worked for thirteen years in that studio. A sailmaker’s loft, on Coenties Slip. It was right on the East River, so close I could see the expressions on the faces of the sailors. That’s when I was friends with Barney Newman. We’d talk about Picasso, who was a good painter because he worked hard. But he had a lot of goofy ideas. I liked Andy Warhol, but I was afraid to go visit him because of his friends. Barney would do wonderful talk with me. He’d say about painting, ‘It’s transcendent.’ A lot of people didn’t believe him. But I did. It has to be about life. Barney and the other Abstract Expressionists gave up defined space, and they gave up forms. They all liked my paintings. I feel as though I owe them a debt. Barney hung my shows. Too bad about Barney. The doctor told him to stop, to give it up. Because it’s hard work. So he gave it up, but he started again, and he died of a heart attack.” She drank another glass of water. “This water is so good,” she said again.
Agnes Martin, The New Yorker, July 2003
Christopher Williams, RITTERSPORT, 2009