When Eileen Cooper was a child, her mother used to sit and draw with her in biro on a notepad. “Not that she was ever able to pursue a career in art and I don’t know if she ever had an interest really,” says Eileen, “but I obviously did.”
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Smart collectors follow their taste and inclinations when they’re buying but they also have the nose to expand and explore new fields. We speak to four insiders about where the market is heading – and what sectors are piquing their interest.
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When Prudence Flint started to paint women in everyday settings, her work was promptly described as “domestic”. “It’s not a sexy title, is it?” she asks. “It felt confusing because if I put a woman outside she was subject to another limit and scrutiny. So I started to think about dreams and giving myself space in that way.”
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It began with a tweet. Nicole Tersigni was scrolling through Twitter when she stumbled upon a man explaining one of her friend’s jokes back to her – something she’d experienced several times herself – and decided to make a joke of her own.
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The dedication in Eliza Clark’s Boy Parts sets the tone for the tale that follows: “For my mother and father. Please don’t read this.” The novel, a debut by the 26-year-old from Newcastle, will make most readers howl with laughter and/or shut their eyes in horror.
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As a major Paris exhibition shows Christian Louboutin’s body of work, we talk to the designer about the benefits of owning your own maison, shifts within the fashion industry and how he keeps his label fresh.
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Reading Korean author Bae Suah’s Untold Night and Day feels like a tumble into a surrealist painting. Just as you think you’ve found your footing, time melts away and the line between reality and dreams becomes fluid.
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Before answering my questions about his new exhibition at the Whitney Museum of American Art, New York-based artist Darren Bader says that he has a specific (read: irreverent) style and he hopes it’s not too much of an annoyance.
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Winter is a time for hibernation, something the unnamed narrator of Ottessa Moshfegh’s third novel knows all too well. The critically acclaimed My Year of Rest and Relaxation tells the story of an art-history graduate in New York who decides to sleep for a year and emerge reborn.
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When the celebrated feminist artist Judy Chicago missed her connecting flight from Dallas to London for the opening of the first major UK survey of her work, she quipped to her team, “Just think of this as practice for when I’m not here anymore.”
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Tim Walker’s whimsical photographs are instantly recognizable. Think of the giant plastic doll with golden ringlets and rosy cheeks about to step on the supermodel Lindsey Wixson in a 2012 shoot for Vogue Italia.
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It’s easy to identify Elizabeth Macneal’s house in east London: the windowsill is lined with succulents sprouting from an assortment of striped and spotted pots. She started with one evening class a week. “I produced many deformed and far from watertight pots,” she tells me, “and then I gradually got better.”
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How do you compete in a landscape where small and midsize galleries falter while big names flourish? This is the kind of question the next generation of art and design specialists are asking themselves.
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The acclaimed American author’s writing is whip-smart and bleakly funny. In conversation with Monocle’s Chloë Ashby she talks about her third novel My Year of Rest and Relaxation, New York in the early 2000s, and why she writes.
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The Second Shelf may be small but it has a mighty ambition: to rediscover works by and about women, to generate excitement around rare books and to foster gender equality in the literary canon.
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“The thing that makes me want to paint is paint,” says Flora Yukhnovich, who, when we meet ahead of her first solo show at Parafin gallery, is dressed in clothes appropriately splattered from top to toe.
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Four collectors share their thoughts on their latest art-fair acquisitions, revealing what it was that persuaded them to buy the pieces and where they see the market at the moment.
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Matthew Girling’s job sounds simple: raise Bonhams’ profile and carry the business forward into the 21st century. In reality, heading up one of the world’s largest auction houses of fine art and antiques is no mean feat.
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