Editions Gallimard – serie

In the spring of 2023, Fondation Louis Vuitton will be holding Basquiat x Warhol... Painting 4 hands, the most important exhibition ever devoted to the collaborative work of these two artists. The exhibition will feature more than 100 jointly signed paintings, in addition to individual works by Basquiat and Warhol, and works by other major artists (Keith Haring, Jenny Holzer, Kenny Scharf, etc.) in order to recreate the New York downtown art scene of the 1980s.From 1984 to 1985, Jean-Michel Basquiat (1960–1988) and Andy Warhol (1928–1987) jointly produced about 160 paintings, some of the largest in their respective careers. A genuine artistic dialogue of style and form had developed between them that dealt equally well with crucial issues such as the integration of the African-American community into the narrative of North America, a continent where Warhol was a major manufacturer of icons.

"This year, the Fondation Vuitton strikes again with an exhibition of the Morozov Collection, about 200 French and Russian works bought by two other textile magnates, the brothers Mikhail and Ivan Morozov, who also made multiple Paris shopping trips" – New York TimesThe Morozov brothers, wealthy Moscow textile merchants Mikhail (1870-1903) and Ivan (1871-1921), played a key role in bringing Impressionist and Post-Impressionist art to Russia in the first decades of the 20th century. Along with Sergei Shchukin, a fellow industrialist and art collector, they created an international audience for French art and had a transformative effect on Russian cultural life. Between the years 1903 and 1914, Ivan Morozov spent more money than any other collector of his time, amassing a stunning collection of works by Matisse, Monet, Picasso, Bonnard, Sisley, Renoir, Signac, Vuillard, Gauguin, Van Gogh, Degas, Pissarro, and, most especially, Cezanne (17 paintings, all of which will be on display). On his bi-annual trips to Paris, he bought from the most discerning dealers, including Paul Durand-Ruel, Ambroise Vollard, and Daniel-Henri Kahnweiler, as well as directly from the artists themselves. His collection comprises 278 paintings, not including 300 paintings by Russian artists (Chagall, Malevich, Serov, Vrubel, Levitan, Larionov, Goncharova) and 28 sculptures. The Morozov collection was nationalised after the October 1917 Revolution, and after World War II it was divided among the Hermitage Museum, the Pushkin State Museum of Fine Arts, and the Tretyakov State Museum. This stunning catalogue has been published for a show of 100 highlights from the Morozov Collection that will run from 22 September 2021 – 22 February 2022 at the Louis Vuitton Foundation in Paris. It is the first time that works from the collection will travel abroad since they were acquired. This landmark exhibition will be the only stop for the show outside of Russia.

The Fondation Louis Vuitton's unprecedented 2016 exhibition brought together 130 masterpieces, among the most iconic of the collection created in Moscow by the great Russian art patron, Sergei Shchukin. From Le Déjeuner sur l'herbe (1866) by Claude Monet, the Mardi gras (1888-90) by Paul Cézanne, Paul Gauguin's Tahitian odalisque Eh quoi, tu es jalouse? (1892), the luminescent panel L'Atelier du peintre (1911) by Henri Matisse, to conclude with Pablo Picasso's Trois femmes (1908), the magnificence of Shchukin's collection is exhibited here.Extended by a group of some 30 major works from the Russian avant-gardes, including Counter Relief (1916) by Vladimir Tatlin, Green Stripe (1917) by Olga Rozanova, and Kazimir Malevich's monochrome painting, Black Suprematie Square (1929), Icons of Modern Art covers the extreme breadth of this journey through 19th- and 20th-century creation. The presentation of these exceptional works, where our collective gaze comes together, constitutes an exemplary "painting lesson."

Thevisible world overflows with pictures: more than three billion of them stream across social media every day. This overproduction this excess needs to be managed. Images must be stored, formatted and transported, their flow and exchange must be organised. They require road networks (such as internet cables) and new forms of labour (such as content moderators and clickworkers). And they transform the way we see, mobilising our gaze as never before. The essays and artworks in this catalogue, by observing similar transformations currently affecting our financialised economy in the age of cryptocurrencies, seek to grasp and theorise this new iconomy of the visible.This exhibitioncatalogue is a collection of short texts providing a wide range of perspectives on the economics of the image and images of the economy. A number of classic essays have also been reproduced, in part or in full. Includes contributions from Emmanuel Alloa, Hervé Aubron, Matthias Bruhn, Yves Citton, Elena Esposito, Jean-Joseph Goux, Maurizio Lazzarato, Catherine Malabou, Marta Ponsa, Marie Rebecchi, Antonio Somaini, Peter Szendy, Leah Temper, Elena Vogman and Dork Zabunyan.

At the end of 2024, Fondation Louis Vuitton will be holding for the first time a major exhibition dedicated to the work of the American Pop artist Tom Wesselmann.It will include around eighty of Tom Wesselmann's absolute masterpieces covering his creative periods from the 1950s to the 2000s. The exhibition will offer the opportunity to experience the beginnings of the Pop Art phenomenon through the presentation of other major works by Pop artists such as Roy Lichtenstein, Yayoi Kusama, Evelyne Axell, Frank Bowling, Rosalyn Drexler, Jasper Johns, Kiki Kogelnik, Richard Hamilton, Eduardo Paolozzi, James Rosenquist, Marjorie Strider, and Andy Warhol. The contextualisation of Wesselmann's work within the Pop Art zeitgeist paves the way for immersion into his wide-ranging yet very distinctive oeuvre.

From October 14th 2025 to March 1st 2026, the Musée National Picasso-Paris will present an exhibition dedicated to the American painter Philip Guston, bringing together a group of figurative works and drawings made by the artist responding to to Philip Roth's book Our Gang (1971). The exhibition will also show the satirical verve of Guston’s painting as well as a form of political commitment rooted in his discovery of Picasso’s Guernica, surrealism and Mexican muralism in the late 1930s.Supported by the Philip Guston Foundation and the artist's daughter Musa Meyer, who have entrusted the museum with the Nixon drawings series, as well as never-seen-before works, the exhibition will offer a precise look at Guston's work from the 1940s to the end of his life. In total, the book will feature around 150 works by Guston as well as the 73 drawings, along with Philip Roth’s text.

This is the exhibition catalogue of the Fondation Louis Vuitton's exhibition starting September 2026 dedicated to Gustave Fayet as an artist and a collector. This book focuses on his collection: he bought works to resell them at a profit, allowing him to acquire new, even more remarkable pieces. His collection included over 200 works by Gauguin and the 'Gauguin Room' in his Parisian apartment was legendary among the Parisian elite of the time. He was also a very close friend of Odilon Redon, and he acquired works by famous artists such as Matisse, Bonnard, Degas, Monet, Matisse, Renoir, Cézanne, Rodin and Van Gogh among others. Following his death in 1925, the collection was sold by his family. However, these works can now be found in the world’s most prestigious museums, and are reunited during the exhibition.

This is the the exhibition catalogue of the Fondation Louis Vuitton's exhibition starting September 2026 dedicated to Gustave Fayet as an artist and a collector. First major reference work devoted to the creative activity of Gustave Fayet in decorative arts, this book brings together leading specialists across multiple media, including stoneware, stained glass, drawing, textiles, wallpaper, carpets, and books. It explores a largely overlooked field and restores attention to a figure well known to experts yet long forgotten. Neither aligned with Art Nouveau nor Art Deco, Fayet remains deeply rooted in his time, collaborating with major artists such as Louis Süe, André Mare, and Paul Poiret. His friendship with Odilon Redon encouraged his artistic development. Combining art and business, he founded decorative arts enterprises in the 1920s. His sudden death, just five years later, was followed by a successful posthumous exhibition in 1926 at the Pavillon de Marsan in Paris, where his carpets were displayed alongside Redon’s works.

In 2018 the Fondation Louis Vuitton, Paris, is hosting exhibitions on two of the greatest artists of the 20th century - Egon Schiele, and Jean-Michel Basquiat. Both exhibitions have the same curator, and are taking place at the same time. The shows illustrate exactly what it is that linked the two artists: line, and the use of expressive force.This, the catalogue of the Basquiat exhibition, labelled "the definitive exhibition" by its curator, brings together 120 of the artist's most important masterpieces, sourced from international museums and private collections. With the astonishing radicalness of his artistic practice, Basquiat renewed the concept of art with enduring impact. This Basquiat retrospective centres on the idea of Basquiat's unique energetic line, his use of words, symbols, and how he integrates collage in his paintings, sculptures, objects, and large-scale drawings.The catalogue includes texts by great authors, including Paul Schimmel who tells of his meeting with Basquiat in California; Francesco Pellizzi who knew Basquiat well and has not written about him for a long time; and Okwui Enwezor who talks about the Afro American identity.

The exhibition brings together five contemporary artists of international stature: Sam Gilliam (United States, 1933), Katharina Grosse (Germany, 1961), Steven Parrino (United States, 1958-2005), Megan Rooney (Canada, 1985), Niele Toroni (Switzerland / France, 1937). Their works are characterised by an expansive use of colour, which emerges from canvas to invade walls, floors, and ceilings. Within of the FLV, each of these artists will have a dedicated space. This book presents in an exhaustive way the works of the exhibition. Organised in five main parts, each being dedicated to an artist, it mixes texts by specialists and interviews with artists.Under the direction of Ludovic Delalande, Nathalie Ogé and Claire Staebler, with texts by great specialists in contemporary art: Jonathan P. Binstock, Philippe Dagen, Frank Gehry, Hans Ulrich Obrist, Florence Ostende, and Ludger Schwarte.

During the late 1970s and early 1980s, New York City was financially and socially bankrupt, but the art and music scene was flourishing. During these years, the downtown New York music scene – no wave, hip-hop, disco funk and club culture – shaped Jean-Michel Basquiat as both a musician and an artist. This catalogue for a travelling exhibition explores how Basquiat’s painting has parallels in his music (sampling, cut-up, rapping), and takes a new look at his production as a writer and a poet in light of his connections with the then-emerging hip-hop culture. This beautifully illustrated exhibition catalogue of rarely seen photographs and images sheds new light on Basquiat as a musician, exploring how his art and music are related, and how they reflect on his identity as a Black artist in the United States, the downtown New York music scene, and contemporary culture.

Christian Dior and Christian Bérard met at the end of the 1920s. They immediately became friends, nourished by elective affinities and an incredible complementarity. If Christian Dior marks his time with his architectural work as a couturier who will redesign the silhouette of women for a long time, Christian Bérard is a jack of all trades – painter, illustrator, and theatre designer for Jean Cocteau among others. Both have a crucial influence on their respective careers.With more than 100 images from the Dior archives, this book immerses the readers in the heart of the lives of Christian Dior and Christian Bérard.