Latest news with #FondationLouisVuitton
Los Angeles Times
23-05-2025
- Business
- Los Angeles Times
Louis Vuitton bets big on Rodeo Drive with new Frank Gehry-designed store
Louis Vuitton is gearing up to go over the top again in Beverly Hills. With plans for an ultra-opulent hotel on Rodeo Drive stymied by voters two years ago, the Paris fashion house's owners are back with a proposal for a theatrical flagship store designed by architect Frank Gehry that would anchor the north end of the famous retail corridor. Luxury goods stores on Rodeo Drive are growing larger as top-shelf retailers increasingly up the ante to dazzle shoppers, and the vision from Louis Vuitton owner LVMH is one of the biggest stores yet with restaurants, rooftop gardens and exhibition space. Set to open in 2029 pending city approval, the store will stretch through the block from Rodeo Drive to Beverly Drive along South Santa Monica Boulevard. It will be one continuous structure connected across an alley by two pedestrian bridges and a tunnel. Louis Vuitton said its new store will contain 45,000 square feet on the retail side fronting on Rodeo Drive and an additional 55,000 square feet on the hospitality-focused side of the building off Beverly Drive. 'The new location will take visitors into a full Louis Vuitton lifestyle experience showcasing its diverse universes of products and one-of-a-kind client experiences,' the company said in a statement. The retail entrance will be on Rodeo Drive, with three floors dedicated to product categories such as women's and men's collections, travel, watches and Jewelry, beauty and fragrance. A rooftop level will have private spaces for clients and a garden. Visitors entering from Beverly Boulevard will find a cafe and exhibition lobby on the ground floor, two more floors of exhibition space and a rooftop with a restaurant and open-air terrace. Louis Vuitton representatives declined to offer more details about the exhibitions or the building, but the brand perhaps best known for its signature monogrammed handbags and luggage also has made a reputation promoting art and culture. In 2014 it opened the Fondation Louis Vuitton in Paris in a building designed by Gehry. The Fondation has art exhibits, concerts, dance performances and organized family activities such as art classes for children. Gehry has also also collaborated with Louis Vuitton on a collection of handbags reflecting his architectural style, which is known for flowing, curvilinear sculptural forms. In downtown Los Angeles, Gehry designed the Walt Disney Concert Hall, the Grand L.A. mixed-use complex across the street and the nearby Colburn School performing arts center under construction. The interior of Luis Vuitton's Beverly Hills flagship is being designed by another well-known architect, Peter Marino, who designed the existing Louis Vuitton store on Rodeo Drive and the ill-fated Cheval Blanc Beverly Hills hotel intended for the Rodeo Drive site now selected for Louis Vuitton's new flagship. New York-based Marino was described by Architectural Digest as 'a leading architect for the carriage trade, and the architect for fashion brands.' Marino once said the Chevel Blanc hotel, which was approved by the city before being vetoed by voters, would improve the pedestrian experience on the northern edge of Rodeo Drive's famed shopping district, where 'people get to the end, shrug their shoulders and walk back.' The parcels intended for the hotel and now Louis Vuitton are owned by LVMH and were formerly occupied by Brooks Bros. and the Paley Center for Media. The existing unoccupied structures will be razed to make way for the new store. Merchants on the famous three-block stretch of Rodeo Drive constantly strive to find new ways to call attention to themselves and polish their brand's image, said real estate broker Jay Luchs of Newmark Pacific, who works on sales and leases of high-end retail properties. 'It's competitive among brands to always be the best they can be, and they're not sitting on spaces keeping them stale,' he said. 'They're all always reinventing themselves.' The expensive changes to their stores are 'very obvious,' Luchs said. 'It's almost like an art. The street has different top designers who have made these stores spectacular one after the other.' Even though retail rents on Rodeo Drive are some of the highest in the country, stores are also getting bigger, the property broker said. Fifteen years ago, stores on the street were typically 25 feet wide, he said, then gradually many became 50 feet wide, he said. 'Now you're seeing stores 100 feet wide' that may have two different landlords. A 50-foot lot is 'very big,' Luchs said, and can hold a store with 5,000 square feet on each level and may go three stories tall for a total of 15,000 square feet in the store. The fashion house is also growing in New York, where its flagship store is being replaced with a building that will nearly double its footprint on 57th Street at 5th Avenue, the Architects Newspaper said. Construction has been concealed with a facade that looks like a giant stack of distinctive Louis Vuitton trunks.
Time Out
20-05-2025
- Entertainment
- Time Out
These are the best exhibitions to see in Paris right now
News Your ultimate guide to the must-see art shows and exhibitions in Time Out's recently-crowned best city for culture Craving a proper dose of art? No matter the season, Paris serves up a banquet of exhibitions so rich and varied it can be hard to know where to tuck in. But thankfully, you've got us on hand to help. We've roamed the city to handpick the crème de la crème of exhibitions on display right now – whether you're into painting, photography, contemporary art, sculpture, or design, there's something on this list for you. Here are the very best exhibitions on in Paris right now. Dans le Flou – Another Vision of Art from 1945 to Today Following their deep dive into the link between Impressionism and abstraction, the Orangerie is now exploring what happens when things get a little... blurry. Inspired by Monet's late masterpieces, the show journeys from the 1940s to today, demonstrating how artists have embraced visual ambiguity, abstraction, and indistinct forms to create emotion and tension. The exhibition opens with a quote from Grégoire Bouillier's novel The Orangerie Syndrome: 'In truth, we see nothing. Nothing precise. Nothing definite. One must constantly readjust one's sight.' And that's exactly what this show makes you do – look again, and again. Where? Musée de l'Orangerie When? Until August 18 2025 Matisse et Marguerite – A Father's Gaze We all know Matisse as a heavyweight of twentieth-century art, but how well do we know Marguerite? More than just a muse, she was an essential emotional and artistic presence in his life – and this beautifully curated exhibition finally gives her the spotlight. With over 100 works, including portraits, sketches, sculptures, and intimate archival materials, this show paints a vivid portrait of a deep and complex father-daughter bond. It's about love, creativity, and the quiet power of presence. Where? Musée d'Art Moderne de Paris When? Until August 24 2025 David Hockney 25 Let's be honest: David Hockney doesn't need much of an introduction, but even for superfans of this British icon, this exhibition is quite something. Not only is it the largest Hockney retrospective to date, with over 400 works spread across the entire Fondation Louis Vuitton, but the man himself was deeply involved in every aspect of its curation, from theme to layout. The epic, career-spanning exhibition journeys all the way from the 1960s to Hockney's latest digital experiments, so if you only go to one show this spring, make it this one. It's bold, brilliant, and very, very Hockney. Where? Fondation Louis Vuitton When? Until August 31 2025 The Paris of Agnès Varda You might know Agnès Varda as a Nouvelle Vague pioneer, filmmaker, feminist icon, and general queen of cool. But before the camera rolled, she was behind another kind of lens – as a professional photographer, trained and certified, with a practice that started even before her first films. This exhibition explores the Paris captured by Varda's camera from the 1950s onward: her neighbours, her streets, her studio. It's a tender and powerful tribute to a city she loved. Where? When? Until August 24 2025 The Kiss by the Hôtel de Ville is a career-defining image, but Robert Doisneau was so much more than one iconic snap, and that's exactly what this rich, personal exhibition proves. Curated in part by his daughters Francine Deroudille and Annette Doisneau, the show reveals a man driven not just by aesthetics, but by empathy. It draws from a staggering archive of over 450,000 negatives, not just showing us Doisneau's images but sharing the way he saw people. Expect warmth, wit, and moments of unfiltered humanity. Where? Musée Maillol When? Until October 12 2025 Azzedine Alaïa, Thierry Mugler Before designer collabs were all over Instagram, they were rare, risky, and revolutionary. Case in point: Azzedine Alaïa quietly created pieces for Thierry Mugler in the late 1970s, and this show traces their creative crossover, starting with the unforgettable tuxedo designs from Mugler's 1979-80 collection. It's a love letter to craftsmanship, mentorship, and the kind of fashion storytelling that shaped an era. Tucked inside the Fondation Alaïa, this show is a must for couture lovers and fashion nerds alike. Where? Fondation Azzedine Alaïa When? Until June 29 2025 WAX Sure, wax fabrics are striking and vibrant — but they're also deeply political. This thoughtful, two-level exhibition dives into the colonial, cultural, and economic history behind one of Africa's most iconic textiles. All part of the museum's 'Migrations' season, WAX uncovers how this cloth became a symbol of identity and resistance across continents, featuring contemporary works, fashion, and archival material. It's a reminder that behind every pattern is a story worth telling. When? Until September 7 2025 Along the gold thread – Dressing from the Orient to the Rising Sun Forget trendy, bulky chains – gold has been a fashion staple since the dawn of civilisation, and this dazzling exhibition explores humanity's obsession with golden garments, all the way from ancient Mesopotamia to Japan's Edo period. Over-the-top? Absolutely. But it's also deeply researched and incredibly, well, rich. Expect robes woven with gold threads, religious vestments, ceremonial wear, and pieces that truly shimmer with spiritual – and literal – weight. Where? Musée du Quai Branly When? Until July 6 2025 Expo Disco: I'm Coming Out The idea? Disco meets installation art. The execution? A bit hazy, but it's fun. Visitors are welcomed by a molecule of ether shaped like a disco ball, courtesy of Jeanne Susplugas, and while the conceptual threat of the exhibition is a little hard to follow, there's glitter, music, and the undeniably dazzling energy of disco liberation. Where? La Villette When? Until August 17 2025 Fashion takes the spotlight in the Louvre's first-ever major clothing exhibition. Covering nearly 9,000 square meters, Louvre Couture places over 100 looks from 45 designers (think Chanel, Gaultier, Marine Serre) in dialogue with the museum's most historic pieces. The result? Sometimes breathtaking, sometimes baffling. But it's an ambitious swing – and one that puts fashion back in its rightful place: at the heart of art history.
Forbes
15-04-2025
- Entertainment
- Forbes
David Hockney In Paris: The Largest, Most Joyful Exhibit Worth The Trip
David Hockney, Untitled, 22 July 2005. Oil on canvas. 'David Hockney 25,' the just-opened exhibit at the Fondation Louis Vuitton in Paris, is the largest to date of the British artist featuring more than 400 works, including some never seen before. A once-in-a-lifetime experience that certainly merits the trip to Paris and already numbered among the blockbuster exhibitions of the year, it is also a celebration of the tenth anniversary of the Fondation Louis Vuitton and will be open until August 31. Opened at its entrance by an appropriately hopeful slogan in pink neon in these times of turmoil and uncertainty — 'Do remember they can't cancel spring' — the Hockney exhibition is an experience that connects visitors with the world through an array of joyful, colorful, inspiring paintings, i-pad drawings and sometimes spectacular videos. A Year in Normandy, chair, David Hockney, 2020 'Inside and outside the soaring spaces of the Louis Vuitton Foundation in Paris, everything is in bloom, a joyful vision and a record of a life in art lived with passionate curiosity, attention to the human condition and reverence for the natural world,' the New York Times enthuses in a review. It's the most extensive retrospective ever dedicated to the 87-year-old painter, featuring works from 1955 to 2025 and that, despite its sheer amount, as Le Monde's critic writes that 'you find yourself thinking it's not enough.' The Guardian's critic found the the show 'so moving, I had tears in my eyes.' David Hockney, Play Within a Play Within a Play and Me with a Cigarette, 2025. Acrylic on canvas with collage. This exceptional exhibition curated by Norman Rosenthal, former director of the Royal Academy in London, has been organized according to the artist's choices and instructions, and in addition to a major collection from his studio and his foundation assembles loans from international, institutional, and private collections. It includes works created using a wide, delightful and often astonishing variety of techniques — oil and acrylic paintings, ink, pencil, and charcoal drawings — as well as digital works across photographic, computer, iPhone, and iPad devices — and immersive photo and video installations. Apple Tree 2019. Acrylic on canvas. David Hockney, 27th March 2020 'He himself chose, after presenting some of his legendary early work, to open the exhibition with the last 25 years' production, thus offering an immersion in his world, spanning seven decades of creation,' the Louis Vuitton museum explains. 'He wanted to personally follow the design of each sequence and each room.' As described by Le Figaro: 'This painter, so English down to his bold pate and colorful attire, navigates with a touch of impatience in his 'electric chair,' gazing longingly at the hanging of this dazzling exhibition. His two nurses bring him his coke, but he lights his beloved cigarettes alone, with the same dandyish gesture he's always had. Vitality lurks like a volcano not yet extinguished.' At the Fondation Louis Vuitton in Paris' Bois de Boulogne, the explosion of colorful, relatable, joyful and immersive works illuminate the 12 rooms dedicated to the show, communicating the artist's joie de vivre and bringing smiles of delight - and sometimes even gasps - to observers. It's the satisfaction of remembering that nature offers infinite inspiration, if one simply looks. David Hockney: A room of portraits in many different styles, welcomes visitors. David Hockney, The Arrival of Spring, Normandy, 2020 "David Hockney 25" shows the constant renewal of the artist's subjects and modes of expression and his exceptional ability to reinvent his art. Initially a draftsman, then a master of all academic techniques, he is today a champion of new technologies. Born in 1937 in Bradford, an industrial town in northern England, Hockney started painting at a young age, his creative universe spanning seven decades that make him one of the most influential artists of the 20th and 21st centuries. As a preamble, the exhibit starts with emblematic works such as the Portrait of An Artist (Pool with Two Figures), 1972, and his series of double and single portraits. Then, nature assumes an increasingly important place in Hockney's work from the 1980s to the 1990s before his return to Europe. The core of the exhibition concentrates on the past 25 years, spent mainly in Yorkshire, Normandy and London, a celebration of the landscape, the spectacular explosion of spring and the changing seasons to culminate with the winter landscape Bigger Trees near Water or/ou Peinture sur le Motif pour le Nouvel Age Post-Photographique, 2007, loaned by London's Tate Museum. David Hockney, Bigger Trees near Warter, 2007.' Portrait of an Artist (Pool with Two Figures), 1972. Acrylic on canvas. During the same period, David Hockney painted friends and relatives in acrylic or on iPad while also working on self-portraits. The exhibition features some 60 portraits shown alongside his 'portraits of flowers.' Created on a digital tablet but displayed in traditional frames, the works have an intriguing effect. This is evident in Looking at the Flowers (Framed), 2022, where they are shown together on the wall. David Hockney, 25th June 2022, Looking at the Flowers. Photographic drawing printed on paper Seeing them in that painting and then recognizing them hung around the room radiates joy to visitors of all ages. Hockney is a reliable 'porteur de bonheur ' with his blossoming trees, multicolored flowers and vibrant landscapes. 'You can learn a lot in this exhibition – not just about photography and the human eye but art history and perspective' writes the Guardian's reviewer. 'He show us how beautiful the world is in spite of those who try so hard to ruin it.' David Hockney, 24th February 2021, Red, Yellow and Purple Flowers on a Blue Tablecloth. iPad painting printed on paper, mounted on aluminium David Hockney, 30 Sunflowers, 1996. Oil on canvas. 'Day after day, season after season, the artist captures the light variations,' the curators explain. 'A series of acrylic paintings is on display featuring a highly singular treatment of the sky, animated by vibrant touches, that subtly evoke the work of Van Gogh.' The final room on the top floor feels more emotional in its joyful cornucopia of color. It unveils David Hockney's most recent works, painted in London, where he has lived since July, 2023. These enigmatic paintings are inspired by Edvard Munch and William Blake: After Munch: Less is Known than People Think, 2023, and After Blake: Less is Known than People Think, 2024, in which astronomy, history and geography cross paths with spirituality, according to the artist. Here, also, appears 'Play Within a Play Within a Play and Me With a Cigarette' (2025) , his latest self-portrait in his London garden painting the same image we see, as the daffodils around him announce spring. David Hockney: After Blake: Less is Known than People Think, 2024 Giverny by DH, 2023. Acrylic on Canvas. Nearing the end, new works are placed that engage the spectator in a video at the artist's studio, transformed into a dance hall where musicians and dancers are regularly invited to perform. Passionate about opera, Hockney also reinterprets the set designs he has been creating since the 1970s in a spectacular new multimedia, polyphonic creation where visitors are immersed in a musical and visual piece. David Hockney 25 is at Fondation Louis Vuitton, Paris, until August 31. Tickets are available here.
The Independent
09-04-2025
- Entertainment
- The Independent
Sprawling and spontaneous, this could be the most monumental David Hockney show any of us will see
David Hockney 's biggest ever exhibition has opened in Paris, with a typically optimistic quote from the man himself emblazoned over the entrance: 'Do remember they can't cancel the spring.' Filling four floors of the spectacular Frank Gehry-conceived Fondation Louis Vuitton in the Bois de Boulogne, and featuring immersive installations on his opera designs and longstanding preoccupations with movement and perspective, this could be the most momentous Hockney show any of us will see – including, conceivably, Britain's most popular artist himself. Yet the fact that it focuses, at his request, on his work of the past 25 years means that the glitziest recent addition to Europe's roster of great galleries is now substantially filled with landscapes of rural East Yorkshire. We Brits have learnt to love Hockney's endless, sometimes quirky, sometimes conventional views of rolling cornfields and wooded lanes around the hinterland of Bridlington and Flamborough Head. But what's in it for the French person in the street? They likely won't get the faintly comic nuances the British discern in names like Bridlington – and they've got plenty of flattish, overcast countryside of their own. Well, the huge advance interest in this exhibition (it was featured on the cover of yesterday's Figaro), suggests there's plenty of enthusiasm here for the work of this most quintessentially English of artists. That the French don't get every single one of his Bradford-accented pronouncements means they likely appreciate Hockney first and foremost as an artist rather than a personality. Indeed, they may end up liking his more recent work, created in Yorkshire, and latterly closer to home – for them – in Normandy quite a bit more than we do. With works from all periods to give context to Hockney's recent output, the show opens with a cracking selection of his early pieces, from a dour 1955 portrait of his father to Portrait of an Artist (Pool with Two Figures) (1972), currently the world's most expensive painting by a living artist sold at auction. These are the iconic Pop Art classics, which for most British fans are Hockney: A Bigger Splash (1967), Mr and Mrs Clark and Percy (1970), We Two Boys Together Clinging (1961). It's rather sobering to reflect that they were painted in a relatively fleeting period of barely a decade, less than half the amount of time since Hockney moved back to Yorkshire. Beside the feisty, playful energy of these early works, with their hyper-knowing juxtaposition of styles – from ancient Egypt to Hogarth to the Renaissance to the present – the equally iconic double portraits (including 1968's Christopher Isherwood and Don Bachardy) feel more static. But the sudden jump to the panoramic sweep of 1998's A Bigger Grand Canyon, with its brilliant orange rock and strip of turquoise sky surging across 60 canvases shows there was absolutely no dip in ambition – certainly in terms of scale – over the intervening three decades, or indeed up to date. Yet 12 Yorkshire landscapes arranged together in a large rectangle are so surprisingly conventional, I doubt most viewers would give them a second glance if they weren't by Hockney. Winter Timber (2009), however, shows Hockney back on his customary territory, playing with our expectations of colour and space. Turquoise tree trunks clash with a brilliant mauve pathway across the huge 15-canvas painting, with brilliant yellow logs cutting through the middle like a trail of discarded chips. Even better is The Arrival of Spring in Woldgate, East Yorkshire (2011), an 8ft-high assemblage of four iPad drawings, which I hadn't seen before. The rain falling through the foreground is rendered in a stylised graphic form derived from Japanese prints, while the recession of the pathway beyond through areas of light and dark is classically European – and all flawlessly executed. Just when you think Hockney has gone a bit safe, he pulls something startlingly brilliant out of the bag. It's a pattern that runs throughout the show, just as it has done throughout his career. On previous showings, I've struggled to get excited by Hockney's recent portraits, which seem to fall between the experimental and the conventional, with neither aspect being pushed to the limit. The diptych Sid and Joni (2005) links back to his 1970s double portraits, with Joni's arm disappearing humorously into the joint between the two canvases, while Sid appears to be photographing us. But it has none of the haunting suggestiveness of those earlier works. Later efforts, such as Harry Styles (2023), with the singer in a red-striped cardigan, fall into lazy semi-caricature that only Hockney could get away with – not because they're good, but because they're by Hockney. Fifteen iPad self-portraits give a much-needed lift to the spirits: each in a different style, from cartoon to meticulous, with Hockney grimacing and gurning, sending up his everyday exasperations to hilarious effect. The wall texts note his capacity for 'self-derision', while pointing out that he is 'always kind' in his portrayals of others. Perhaps if he'd been a little bit less kind, some of those other paintings would've been more interesting. A roomful of landscapes produced under lockdown around his farmhouse in Normandy, where he moved in 2015, are so flat and lacking in texture they could be iPad drawings. Oh sorry, they are iPad drawings. That said, they are intriguing for the way Hockney uses the backlit glow of the screen to evoke the effects of real daylight. The use of artificial patterning to teasingly replicate natural textures is typically Hockney, whether it's wiggling horizontal lines to stand in for grass or blotchy cherry blossoms that look as though they've been applied with a mechanical stamp; both are, of course, completely digital. Even the apparently chocolate-boxy 27th April 2020, No. 1, with its pink and orange sunset, proves to be an essay in deconstructed mark-making when you get up close. The spectres of Van Gogh and Edvard Munch, two long-standing Hockney heroes, wander into these images in the muscular outline of orange, cherry and magenta tree trunks. There are much more ambitious homages to other artists on the fourth and last floor of the show, including a gigantic take on Claude Lorrain's relatively subdued Sermon on the Mount, from New York's Frick collection. Hockney's Christ preaches from the top of an enormous acid-orange outcrop to an audience of applauding shepherds. It's hard not to laugh at the sheer bonkers hubris. But then humour has played a central role in Hockney's art from the beginning, in the form of puns and games with visual language, quipping nods to other artists and the marrying of incongruous styles. That was what made his early Pop Art experiments so arresting. And he's still doing it now, not least in his most recent work in the show, Play Within a Play Within a Play, and Me with a Cigarette (2024-2025), in which the 87-year-old portrays himself as a rather goofy figure in yellow framed glasses and a tartan suit, drawing the picture we're looking at, which, of course, contains the same image. It's wonderful to lie on cushions in the opera section with Wagner's Tristan and Isolde blasting as Hockney's blue-tinged stage designs flood the walls, and it's certainly intriguing to see his large-scale film and photographic explorations of pictorial space. Yet, Hockney always feels most himself at his most intimate: when it's just him – and us – with his sketchbook, paints or iPad. Looking at this show's apparently endless, rapidly executed views of Yorkshire and Normandy, one might be tempted to wonder if Hockney would have been better served spending more time on fewer works. But then he'd have lost the sense of spontaneity, freedom and play that allow him to stream out throwaway visual gags: gravel drives like Seurat, writhing walls like Van Gogh, muddy rain like Hokusai. Hockney has made many of us laugh with his pronouncements to camera and radio, but even if you're not British or you don't speak English, his best jokes are in his paintings, where no words are needed. 'David Hockney 25' is at Fondation Louis Vuitton, Paris, from 9 April until 31 August; the accompanying book, 'David Hockney' edited by Norman Rosenthal, is published by Thames & Hudson in association with Fondation Louis Vuitton on 10 April
Reuters
08-04-2025
- Entertainment
- Reuters
David Hockney retrospective fills Paris Fondation Vuitton
PARIS, April 8 (Reuters) - The largest exhibition yet of works by British artist David Hockney opened in Paris on Tuesday, filling the entire multi-storey Fondation Louis Vuitton museum with more than 400 works spanning seven decades. Drawn from museums and private collections worldwide, the "David Hockney 25" exhibition focuses on the last quarter century of Hockney's work, including many of the digital paintings on iPad he has pioneered. Co-curated by Hockney's friend Norman Rosenthal, it also features some of Hockney's best-known works, including the 1972 "Portrait of an Artist (Pool with Two Figures)", which in 2018 sold for $90 million, at the time the highest price for a work by a living artist. "I've learned to compare David Hockney with Picasso. Not because he's the same, but because of the scale of his work, and the imagination, and the total achievement is not dissimilar," Rosenthal said. Many of the works are set in London and in Yorkshire and Normandy, respectively northern England and northern France, where the artist has spent most of his time this century. "The show means an enormous amount to me because it is the largest I ever had ... in the Fondation Louis Vuitton's great Parisian building, designed by my LA friend Frank Gehry," said Hockney in the exhibition brochure, referring to the winged building in Paris' Bois de Boulogne park. The exhibition includes the monumental 12 metre-wide "Bigger Trees Near Warter", painted in 2007, paintings from his California period in the 1970s, as well as dozens of still lifes, landscapes, portraits and self-portraits. One of the most influential artists of the 20th and 21st centuries, Hockney, 87, was a major figure of the Pop Art movement of the 1960s and has remained at the forefront of modern art, reinventing his familiar themes in new media and technologies, the exhibition's brochure said. "(Hockney) shows us the way, while recognising that the path that he himself has followed is continually evolving," Fondation Louis Vuitton President Bernard Arnault wrote in an introduction to the exhibition. It runs until August 31.
