Blau International

In No. 10, glamour becomes a metaphysical force as Pierre et Gilles meet Jarrett Earnest. The young Danish painter Oliver Bak confidently strolls out into the mystic. And, at the closing of her New York solo show, Vija Celmins talks to Andrew Winer, sharing her “lifelong conversation between endlessness and our particular pocket of time.” 

Sterling Ruby then gives us a peek under the covers of his colossal quilt collection. WangShui announces that, through AI, love will find a way. François Halard photographs the late painter Hans Hartung's studio, brought to vivid life by the words of Fabrice Hergott. The art-house sensibilities of Rogier van der Weyden become blockbuster material. Marie Chaix and Ola Rindal see double. And Peter Saul cracks wise with fellow painter Joe Bradley.  

The new issue, No. 8, features Dana Schutz’s second coming. Charlotte Rampling, the secret painter making the move from big screen to small canvas. And Philip Taaffe: the chief villain of ornamental crime.  

 Then, Marie Chaix reunites with Camille Vivier for this issue’s fashion editorial. Ser Serpas, ahead of her major exhibition at the Bourse de Commerce, spoils the show. The remote Japanese garden museum of Isamu Noguchi is paid a visit by François Halard. Fish hooks of the Oceanic Islands, collected by Daniel Blau, reel us in. The ice-cold eye of Mantegna is laid bare. And Emma Webster reinvents landscape painting. 

The new issue, No. 8, features Dana Schutz’s second coming. Charlotte Rampling, the secret painter making the move from big screen to small canvas. And Philip Taaffe: the chief villain of ornamental crime.  

 Then, Marie Chaix reunites with Camille Vivier for this issue’s fashion editorial. Ser Serpas, ahead of her major exhibition at the Bourse de Commerce, spoils the show. The remote Japanese garden museum of Isamu Noguchi is paid a visit by François Halard. Fish hooks of the Oceanic Islands, collected by Daniel Blau, reel us in. The ice-cold eye of Mantegna is laid bare. And Emma Webster reinvents landscape painting. 

The new issue, No. 8, features Dana Schutz’s second coming. Charlotte Rampling, the secret painter making the move from big screen to small canvas. And Philip Taaffe: the chief villain of ornamental crime.  

 Then, Marie Chaix reunites with Camille Vivier for this issue’s fashion editorial. Ser Serpas, ahead of her major exhibition at the Bourse de Commerce, spoils the show. The remote Japanese garden museum of Isamu Noguchi is paid a visit by François Halard. Fish hooks of the Oceanic Islands, collected by Daniel Blau, reel us in. The ice-cold eye of Mantegna is laid bare. And Emma Webster reinvents landscape painting. 

Couverture: Pol Taburet

Couverture: Rebecca Warren

Cover by Bridget Riley: © 2019 Bridget Riley. All rights reserved. Courtesy the artist and David Zwirner.

BLAU INTERNATIONAL No. 1, Winter 2019/20

This publication marks a first. Having been published in German since 2014, BLAU is now going global as a new and thought-provoking reference for international art journalism. Based in Berlin and renowned for its intriguing stories and images of today's art world, this first issue of BLAU INTERNATIONAL picks up where our German issues have left off and presents essays, artists’ portraits, interviews and background stories. It includes new columns and – for the first time – fashion. BLAU INTERNATIONAL is pleased to call Marie Chaix, one of the most influential stylists of our time, its fashion editor. For her debut, she has embarked on a journey through the night with photographer Brianna Capozzi and actress Aomi Muyock. Further highlights from this issue include an essay by Julian Barnes about the palettes of famous painters such as George Braque and Martin Kippenberger, and a portrait on artist Bridget Riley with photographs by the up-and-coming British photographer Jamie Hawkesworth. David Salle delves into the later work of Giorgio de Chirico, the godfather of Postmodernism, and we make a visit to American sculptor Doreen Garner's studio.

BLAU INTERNATIONAL appears twice a year, the next issue due in spring 2020. BLAU INTERNATIONAL complements the German edition of BLAU, which will still be released six times a year.

English language; 23.3 x 28.0 cm (paperback); 228 pages (color illustrations)

With François Halard, Marie Chaix, Julian Barnes, Charline von Heyl, Jamie Hawkesworth, Heji Shin, Gaia Repossi, Dustin Thierry, David Salle, Claes Juhlin, Brianna Capozzi, John Banville, and an all new design by Mike Meiré.

Main features and spreads:

DOREEN GARNER
As glittering as it is glory, Garner’s work brings Black history to haunting life (by Gesine Borcherdt)

HOW TO READ A PALETTE
Matthias Schaller has photographed painters’ palettes for a decade.
Julian Barnes reads them to us

CAROL RAMA
Famous for her erotically charged work—and dead since 2015—the reclusive Italian artist finally speaks (by Cornelius Tittel)

BAALBEK
Surrounded by Hezbollah, the ancient ruins still turn gold at sunset.
François Halard treads sacred ground

BRIDGET RILEY
Still breaking down the doors of perception, the 88-year-old artist is
here to stay (by Michael Bracewell)

CARROLL DUNHAM
The artist has a hard look at his anything but flaccid 40-year career
(by Cornelius Tittel)

FASHION
Brianna Capozzi and Marie Chaix have Aomi Muyock drive away the day

GIORGIO DE CHIRICO
Never mind the arcades: David Salle argues his later work is where it’s at

Cover by Doreen Garner: Dustin Thierry for BLAU INTERNATIONAL

BLAU INTERNATIONAL No. 1, Winter 2019/20

This publication marks a first. Having been published in German since 2014, BLAU is now going global as a new and thought-provoking reference for international art journalism. Based in Berlin and renowned for its intriguing stories and images of today's art world, this first issue of BLAU INTERNATIONAL picks up where our German issues have left off and presents essays, artists’ portraits, interviews and background stories. It includes new columns and – for the first time – fashion. BLAU INTERNATIONAL is pleased to call Marie Chaix, one of the most influential stylists of our time, its fashion editor. For her debut, she has embarked on a journey through the night with photographer Brianna Capozzi and actress Aomi Muyock. Further highlights from this issue include an essay by Julian Barnes about the palettes of famous painters such as George Braque and Martin Kippenberger, and a portrait on artist Bridget Riley with photographs by the up-and-coming British photographer Jamie Hawkesworth. David Salle delves into the later work of Giorgio de Chirico, the godfather of Postmodernism, and we make a visit to American sculptor Doreen Garner's studio.

BLAU INTERNATIONAL appears twice a year, the next issue due in spring 2020. BLAU INTERNATIONAL complements the German edition of BLAU, which will still be released six times a year.

English language; 23.3 x 28.0 cm (paperback); 228 pages (color illustrations)

With François Halard, Marie Chaix, Julian Barnes, Charline von Heyl, Jamie Hawkesworth, Heji Shin, Gaia Repossi, Dustin Thierry, David Salle, Claes Juhlin, Brianna Capozzi, John Banville, and an all new design by Mike Meiré.

Main features and spreads:

DOREEN GARNER
As glittering as it is glory, Garner’s work brings Black history to haunting life (by Gesine Borcherdt)

HOW TO READ A PALETTE
Matthias Schaller has photographed painters’ palettes for a decade.
Julian Barnes reads them to us

CAROL RAMA
Famous for her erotically charged work—and dead since 2015—the reclusive Italian artist finally speaks (by Cornelius Tittel)

BAALBEK
Surrounded by Hezbollah, the ancient ruins still turn gold at sunset.
François Halard treads sacred ground

BRIDGET RILEY
Still breaking down the doors of perception, the 88-year-old artist is
here to stay (by Michael Bracewell)

CARROLL DUNHAM
The artist has a hard look at his anything but flaccid 40-year career
(by Cornelius Tittel)

FASHION
Brianna Capozzi and Marie Chaix have Aomi Muyock drive away the day

GIORGIO DE CHIRICO
Never mind the arcades: David Salle argues his later work is where it’s at

Cover by Carroll Dunham: Courtesy the artist and Gladstone Gallery, New York and Brussels. 

BLAU INTERNATIONAL No. 1, Winter 2019/20

This publication marks a first. Having been published in German since 2014, BLAU is now going global as a new and thought-provoking reference for international art journalism. Based in Berlin and renowned for its intriguing stories and images of today's art world, this first issue of BLAU INTERNATIONAL picks up where our German issues have left off and presents essays, artists’ portraits, interviews and background stories. It includes new columns and – for the first time – fashion. BLAU INTERNATIONAL is pleased to call Marie Chaix, one of the most influential stylists of our time, its fashion editor. For her debut, she has embarked on a journey through the night with photographer Brianna Capozzi and actress Aomi Muyock. Further highlights from this issue include an essay by Julian Barnes about the palettes of famous painters such as George Braque and Martin Kippenberger, and a portrait on artist Bridget Riley with photographs by the up-and-coming British photographer Jamie Hawkesworth. David Salle delves into the later work of Giorgio de Chirico, the godfather of Postmodernism, and we make a visit to American sculptor Doreen Garner's studio.

BLAU INTERNATIONAL appears twice a year, the next issue due in spring 2020. BLAU INTERNATIONAL complements the German edition of BLAU, which will still be released six times a year.

English language; 23.3 x 28.0 cm (paperback); 228 pages (color illustrations)

With François Halard, Marie Chaix, Julian Barnes, Charline von Heyl, Jamie Hawkesworth, Heji Shin, Gaia Repossi, Dustin Thierry, David Salle, Claes Juhlin, Brianna Capozzi, John Banville, and an all new design by Mike Meiré.

Main features and spreads:

DOREEN GARNER
As glittering as it is glory, Garner’s work brings Black history to haunting life (by Gesine Borcherdt)

HOW TO READ A PALETTE
Matthias Schaller has photographed painters’ palettes for a decade.
Julian Barnes reads them to us

CAROL RAMA
Famous for her erotically charged work—and dead since 2015—the reclusive Italian artist finally speaks (by Cornelius Tittel)

BAALBEK
Surrounded by Hezbollah, the ancient ruins still turn gold at sunset.
François Halard treads sacred ground

BRIDGET RILEY
Still breaking down the doors of perception, the 88-year-old artist is
here to stay (by Michale Bracewell)

CARROLL DUNHAM
The artist has a hard look at his anything but flaccid 40-year career
(by Cornelius Tittel)

FASHION
Brianna Capozzi and Marie Chaix have Aomi Muyock drive away the day

GIORGIO DE CHIRICO
Never mind the arcades: David Salle argues his later work is where it’s at