When Irving Kristol joined the new magazine Commentary, he distinguished himself from the other editors--Clement Greenberg, part-time then, Robert Warshow, and me. First, he had an interest in politics, real politics, electoral politics, and not just the politics of left-wing anti-Stalinists, mulling over what was living and what was dead in Marxism, the fate of socialism, the future of capitalism, communist influence in the intellectual world--no mean issues, but hardly ones to affect who won and who lost an election. So Irving discovered the wonderful political reporter and analyst Sam Lubell in the pages of The Saturday Evening Post, persuaded him to write for Commentary, and made me an enthusiast for his books, now hardly noted (although Sam Tanenhaus’s recently published The Death of Conservatism uses one of Lubell’s central theses as a guiding theme). None of the rest of us had ever read or noticed The Saturday Evening Post.
Picasso: Mosqueteros--Gagosian Gallery
Younger Than Jesus--New Museum
The Pictures Generation, 1974-1984--Metropolitan Museum of Art
Compass in Hand--Museum of Modern Art
The exhibition of Picasso's late work at the Gagosian Gallery this spring was a phenomenon. Day after day, Gagosian's huge space on West 21st Street attracted a remarkably heterogeneous public, a mix of artists, art students, Brooklyn hipsters, well-heeled professionals, and European and Asian tourists, gathered together in a way I do not recall seeing before, certainly not in Chelsea. People did not just come and look. They stayed and talked about the quickening, raucous power of the paintings and prints that Picasso was making in his late eighties and early nineties. Anything by Picasso is of course a draw, and it helped that John Richardson had organized the exhibition. He knew Picasso in his later years, and the Gagosian show, while it surely had its commercial motivations, was given an intellectual lift by Richardson, whose magnificent biography of Picasso, of which three volumes have appeared, is written in a prose as elegant, easy, and exact as any being produced today.
