An interview with painter Chris Martin.
A young assistant causes strain and conflict between a writer and a painter.
"We took her with us when we went out. It was startling when a waitress at the Forest Diner mistook Evvie for our daughter. I had just turned 38 that fall, and Colin was 46. We were both on our second marriages, and had both agreed that children would get in the way of our art. Colin was old enough for a 22-year-old daughter—I certainly wasn’t. It was something like having a child, though, without the trouble of rearing one. Evvie was devoted to Colin. If she’d been more attractive, I might have felt threatened, but I didn’t. She was almost a daughter, in those early months."
A profile of Kehinde Wiley, a painter who inserts the “brown faces” that have historically been relegated to the background in Western art.
Lessons from the 1913 International Exhibition of Modern Art.
A conversation with the 88-year-old abstract painter.
PALTROW: Did you design camouflage while in the army?
KELLY: I did posters. I was in what they called the camouflage secret army. This was in 1943. The people at Fort Meade got the idea to make rubber dummies of tanks, which we inflated on the spot and waited for Germans to see through their night photography or spies. We were in Normandy, for example, pretending to be a big, strong armored division which, in fact, was still in England. That way, even though the tanks were only inflated, the Germans would think there were a lot of them there, a lot of guns, a whole big infantry. We just blew them up and put them in a field.
What happens when a decades old video, featuring the artist Larry Rivers’ prepubescent daughters bare-chested, is claimed both as child pornography and as an important part of the archive of a major American painter.
The man who keeps finding famous fingerprints on uncelebrated works of art.