Guillaume de Sardes

Guillaume de Sardes est écrivain-photographe, historien de l’art et commissaire d’exposition. Il est Directeur de la publication d’Art Critique.

Drag racing, a journey into intensity

Paul Ardenne is interested in all things modern; he’s even one of its best scholars. Perhaps the fact that he had already covered this field so well is why he chose to abandon it – at least temporarily – in favour of the drag strip (a paved track with excellent grip). Now, unexpectedly, he has […]

Homer at the Louvre-Lens

The Iliad and the Odyssey are all that remain of a vast epic body of work which is now lost. These verses, sung in Greek and accompanied by a lyre, recount Achilles’ exploits and Ulysses’ travels. They have been able to survive because they were recorded in writing in the 6th century before the current […]

Against the hegemony of American art

In his brief essay L’Europe fantôme (2019), Régis Debray noted the following: “the great industrialist from across the Atlantic now reigns over four-fifths of Europe’s movie screens, two-thirds of all its music on the radio and almost all of its modern art galleries”. Regardless of whether we love it or not a question nevertheless arises: […]

A Tribute to Outstanding Amateurs

An amateur, according to Émile Littré’s Dictionnaire de la langue française, is “someone who pursues the fine arts without making it their profession”. It might also be a public figure like Winston Churchill who painted for pleasure or an essayist like British art historian Hugh Honour who, outside of academia, published reference books on neo-classicism. […]

What makes a successful gallery?

The financialization of art has led to the emergence of large galleries (those with sales figures over 50 million dollars, who have a 30% profit margin, whose yields are significant). These galleries represent the most successful artists, those whose pieces best match market expectations. But behind the term “market” lies a reality: collectors. Yet, without […]

About transgression

At first the subject of transgression might seem to have been thoroughly exhausted. The notion of transgression allowed modernity to be built as a reaction against academicism, it also enabled postmodern trends to push the rigid boundaries of what is considered modern. In photography, the transgressive often gives the impression of being nothing more than […]

Revisit « The Square »

Artists have been the inspiration for many successful films, whether they are painters like in Van Gogh (1991) by Maurice Pialat or Pollock (2000) by Ed Harris or even musicians as in Last Days (2005) by Gus Van Sant or Anton Corbijn’s Control (2007). The difference between these films and The Square from Ruben Östlund […]