Creator and collector, Jeff Ross visits Paris, France where Matthew Rose interviews him about his background in art-making as well as his passion for works by self-taught artists. Born in Germany, raised in America, and now currently living in Bangkok, Thailand, Jeff has travelled the world meeting all walks of life. He shares with us his wonderful stories about how he came to meet other artists and purchase their work.
Read MoreMatthew Rose reflects on how artists, architects, and designers alike deal with objects that remind us of the dead. Catch a ride with Matthew as he explores the depiction of mortality dating back as far as the 16th century, and up to modern times.
Read MoreMatthew brings compelling work into focus on the streets of New York and London, two pillars of the international street art scene, with help from photographer friends MJ Moon and Mathilde Denis.
Read MoreMatthew Rose remembers his dear friend Stanley Greene, a brilliant conflict photographer who sought to show the world human tragedies occurring just out of sight.
Read MoreArtist Marlène Mocquet offers up a savage menagerie of creatures from the darkest corners of fairy tales at the Musée de la Chasse et de la Nature in Paris. The setting, a 17th-century mansion turned into a museum dedicated to the hunt, is eerily perfect for her ceramic creations.
Read MoreMatthew takes a break from politics to consider the role of the humble–and not so humble–chair in French society, the subject of an exhibition at the famed Gobelins tapestry factory in Paris. From space-age sleek lines to Napoleonic bling, there’s a chair here for every taste.
Read MoreSpurred by seeing a recent ad in which artist Maurizio Cattelan appears, Matthew Rose reflects on the relationship between artists and advertising. He asks, why haven’t more artists appeared in or contributed to major advertising campaigns?
Read MoreMatthew Rose offers a critical take on ’80s art wunderkind Julian Schnabel’s latest show in Paris, which features images of the god Shiva overlaid with the artist’s own interventions. Is this a genuine attempt at an artistic dialogue between East and West, or an unfortunate tone-deaf combination of art and religion?
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