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Image descriptions 14px Walter Vanhaerents with James Lee Byars’ The Death of James Lee Byars, 1994, ahead of the opening in Venice. Photo by Karel Duerinck
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In 2023, Naples’s Museo di Capodimonte sent 60 of its masterpieces to the Louvre as part of an unprecedented loan. Inside the crates were treasures by Masaccio, Bellini, Titian, Parmigianino, Michelangelo and Raphael.
As they left their home in the former royal hunting lodge of the Bourbon monarchs, the Canadian-American photographer Robert Polidori — celebrated for his large-scale images of architecture and interiors — was preparing to to document their arrival and hanging in Paris.
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Since then, in little over a decade, he has exhibited at the Saatchi Gallery in London and Art Basel in Miami, and placed works with the mega-collectors Frank Cohen and Jean Pigozzi. His auction record of £504,000 — more than 10 times the low estimate — was established at Christie’s in July 2022, with the sale of Untitled (2018).
Now, Rizzoli is publishing the first monograph on the artist. It opens with essays by the Nigerian art historian and MoMA curator Ugochukwu-Smooth C. Nzewi, and Guaz, a photographer, writer and editor of a satirical Ivorian newspaper. These are followed by more than 200 pages of Aboudia’s distinctive, faux-naive-style paintings and collages, which have been compared to the work of Jean Dubuffet, Cy Twombly and Jean-Michel Basquiat.
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Over his 50-year career, he set about transforming the crumbling interiors of some of the city's finest palazzos with an empathy rarely seen in modern architecture. This appropriately convention-defying book sets out to investigate the brilliant, problem-solving maverick. Who else would have resolved the issue of persistent flooding at the Querini Stampalia by raising the floor to allow the water to flow through? Or had the vision to install a glass floor in Verona's Museo di Castelvecchio so that visitors could see the Roman ruins lying beneath? Beautifully illustrated with photographs by Cemal Emden, The Complete Buildings reveals Scarpas unique talent for stripping back architecture to forge links between the past and the present.
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In 1921, the artist Sanyu set sail from Shanghai for Paris. Still in his teens, he was among the first students to benefit from a new agreement between China and France, which granted scholarships to those from the former country to study in the latter.
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Over the following months, Giacobetti and Bacon met 11 times for lunch or dinner, or to shoot the artists portrait at Browns Hotel or in a rented studio. The pair quickly became friends, and before long their conversations were recorded as interviews; the last of which took place in February 1992, and became Bacons final interview before his death from a heart attack on 28 April that year.
Giacobetti kept his archive private for 11 years. In 2003, he unveiled the first tranche of photographs at Marlborough Gallery, and manuscripts in The Art Newspaper. Assoulines forthcoming book contains more never-before-published images and excerpts from those fabled meetings, which together create an unflinching portrait of the famously disconcerting painter.
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External image with description, M’barek Bouhchichi, (b. 1975), La Société de Métayage (The Metayage Society), 2021-22. Heat-treated metal and yellow brass, in 54 parts. Overall: 57⅞ x 58½ x ½ in (147 x 148.7 x 1.3 cm). Price on request. Offered in Spectres Visibles, a selling exhibition, until 11 February 2024 at Christie’s in Paris.
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External Image with some description. Amina Agueznay (b. 1963), Portal 5, variation 2/2, 2022. Wool and palm husk mounted on frame. 73⅝ x 57⅝ x 2⅜ in (187 x 146.5 x 6 cm). Price on request. Offered in Spectres Visibles, a selling exhibition, until 11 February 2024 at Christie’s in Paris
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