The Mystery of Hieronymus Bosch
Centuries later, the Flemish master’s works are still open to interpretation.
Centuries later, the Flemish master’s works are still open to interpretation.
A fight over 11 Picassos, six van Goghs, five Cezannes, a rare pair of Monet, and more.
A profile of 36-year-old curator Loïc Gouzer, who has made millions for Christie’s.
No contemporary artist has used natural history to tell the kind of stories that painter Walton Ford tells.
A pizza deliverer/calculus whiz becomes involved in the lives of two unstable college students.
"I licked my thumb, outside, by the car, and ran it over the suction cups, before I slapped the marquee to the top of my cobalt blue Toyota. The pizzas were already sitting in the passenger seat, cardboard mouths smiling. I was conscious, despite Walter’s assertion, that I was operating under the tick of a clock, an invisible, indefinite deadline. Really, we all are. But no one realizes how soon it’s coming."
A woman discovers artistic integrity during an ill-fated relationship.
"Melanie finally knew their relationship wasn’t going anywhere while in the contemporary art hall of the museum. Andy stopped every few feet and brought his hand to his mouth. She couldn’t look at him for more than a few seconds without getting irritated. It was like a performance piece. He exhaled through his fingers, rubbed his chin, and circled a pile of Styrofoam chunks. He circled counterclockwise."
James Yates is a contributing editor to Longform.org.
A fragile relationship teeters during a family vacation.
"At the restaurant, I enjoy myself for the first time the whole trip: I try fried plantains and sopapillas, washing them down two real margaritas (made from tequila and lime; that’s pretty much it). There is a live band, and Inez pulls Alan up to dance. Her hips have probably never been told no. Erik and I watch from the table. He holds a hand out to me and raises an eyebrow. I shake my head."
A young man's connection with a circle-drawing, perceptive young woman.
"Ericka left for two weeks that summer to go to Colorado. Her brother was in the hospital again, and I got the idea that it might be for the last time. I still pictured her in the waiting room. She would be drawing those loopy circles on the hospital’s copies of Vogue and People and Golf Monthly."
An elderly man's work on a complex sculpture confuses those close to him.
" I sit on the plastic pot bench with my feet dangling in the water, drinking beer with my son, and it occurs to me that this is the first time in a long while that we have done something together that wasn’t planned to death or didn’t involve other people. I keep my mouth shut because I don’t want to spoil the moment. But Wallace spoils it for me. He starts telling me about his speech. At first I don’t understand what he is talking about, but then I start to hear something. He says that expectations are changing, and that the things that sustain us are not always recognizable as such. But what I hear him saying is that he thinks this thing I am building is what I believe is keeping me alive. He still doesn’t get it. He thinks maybe I am depressed, so I turn the conversation to something more capitalistic."
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."
Two artistic teenagers create art and mysteries in a cabin.
"When the sky was blue Andi hooked sheets over the windows. She cooked meat until it was black. While Shot slept she powdered his cheeks with fireplace ash. When they walked about the cabin they looked like subjects in pencil sketch flipbooks, skin brushed gray over a monochrome background. Sometimes Shot would track in mud or some paint would flake, and Andi would be there with a can to police the evidence."
For New Year's Eve, a Times Square encounter chronicled by the author of Open City.
"Low and I stood under the cold blazing lights of Times Square, smoking, and I asked him what he had eaten. Oysters, he said, the pleasure coming back into his voice, in a row on a ridge of ice, eager to be eaten. Fluke, caviar, octopus, some champagne but not a lot."
Inside ArtPrize, a competition in Michigan that’s either a “naked bid to buy cultural cachet in a flyover-country backwater” or a “populist wresting of aesthetic judgment from the snobbery of elites in New York and Los Angeles,” depending on who you ask.
The story of Edward Deeds, a state mental hospital patient and artistic genius.
Ten photographs serve as milestones in this romance with fantastical overtones.
"Vaughan captured pieces of the world—never as it was, but as it could have been, as it almost was. As it might actually be, if we just looked around the edges and noticed the magic."
When U.S. customs law met abstract art in the form of a bird, “shimmering and soaring toward the ceiling while the lawyers debated whether it was an ‘original sculpture’ or a metal ‘article or ware not specially provided for’ under the 1922 Tariff Act.”
A sociobiologist on how we evolved into artists.
An art collector reflects back on the summer camp of her childhood, and a dreadful occurrence.
"[T]hese paintings are not landscape paintings. Because there aren’t any landscapes up there, not in the old, tidy European sense, with a gentle hill, a curving river, a cottage, a mountain in the background, a golden evening sky. lnstead there’s a tangle, a receding maze, in which you can become lost almost as soon as you step off the path. There are no backgrounds in any of these paintings, no vistas; only a great deal of foreground that goes back and back, endlessly, involving you in its twists and turns of tree and branch and rock. No matter how far back in you go, there will be more. And the trees themselves are hardly trees; they are currents of energy. charged with violent color."
An elderly woman and her extended family make their traditional pilgrimage to a cave shrine.
"Much depended on the weather, for a trek up the wind-swept mountain could not be undertaken except on a fine day. When the conditions seemed propitious, the bandobast would start the night before. The feast that followed the puja was always the most eagerly awaited part of the pilgrimage, and the preparations for it occasioned much excitement and anticipation: the tin-roofed bungalow would ring to the sound of choppers and chakkis, mortars and rolling-pins, as masalas were ground, chutneys tempered, and heaps of vegetables transformed into stuffings for parathas and daal-puris. "
A look at Andy Warhol’s enduring popularity and power in the art market.
Warhol’s art was not supposed to be a matter of emotion, introspection or spiritual quest; it was to be an image, pure and simple. “During the 1960s,” he wrote knowingly in 1975, “I think, people forgot what emotions were supposed to be. And I don’t think they’ve ever remembered.”
Civic and domestic troubles lead residents to unusual acts of creativity.
"Jen's car was still missing; Jeff was nailing again, hard. Instead of tiles, though, he was using Jen Simmons's underwear, pair after pair, sides touching like the hands of paper dolls."
A guy just out of prison drops in at a party, with zombies on his mind.
"It turned out that everyone in the prison had a zombie contingency plan, once you asked them, just like everyone in prison had a prison escape plan, only nobody talked about those. Soap tried not to dwell on escape plans, although sometimes he dreamed that he was escaping. Then the zombies would show up. They always showed up in his escape dreams. You could escape prison, but you couldn’t escape zombies."
Brian Mihok, the editor of the experimental journal matchbook, examines beauty, monuments, memory, time, and warehouses.
"This is a café, she said. But everything in this café was made in a warehouse. Even me, she said. You were made? Taiga said. I was born in a hospital, but the hospital was a warehouse."
A profile of gallery owner Paula Cooper.
A visit to the Museum of Broken Relationships.
Olinka and Drazen are artists, and after some time passed, they did what artists often do: they put their feelings on display. They became investigators into the plane wreck of love, bagging and tagging individual pieces of evidence. Their collection of breakup mementos was accepted into a local art festival. It was a smash hit. Soon they were putting up installations in Berlin, San Francisco, and Istanbul, showing the concept to the world. Everywhere they went, from Bloomington to Belgrade, people packed the halls and delivered their own relics of extinguished love: “The Silver Watch” with the pin pulled out at the moment he first said, “I love you.” The wood-handled “Ex Axe” that a woman used to chop her cheating lover’s furniture into tiny bits. Trinkets that had meaning to only two souls found resonance with a worldwide audience that seemed to recognize the same heartache all too well.