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Claire-Louise Bennett
Claire-Louise Bennett grew up in Wiltshire and studied literature and drama at the University of Roehampton, before settling in Galway. Her short fiction and essays have been published in The Stinging Fly, The Penny Dreadful, The Moth, Colony, The Irish Times, The White Review and gorse. She was awarded the inaugural White Review Short Story Prize in 2013 and has received bursaries from the Arts Council and Galway City Council. Her debut novel, Pondwas published by Fitzcarraldo Editions in 2015 and shortlisted for the Dylan Thomas Prize in 2016. Her second novel, Checkout 19, is published by Jonathan Cape in August 2021.

Articles Available Online


The Russian Man

Fiction

Issue No. 27

Claire-Louise Bennett

Fiction

Issue No. 27

Many years ago a large Russian man with the longest tendrils of the softest white hair came to live in the fastest growing town...

poetry

Issue No. 13

Morning, Noon & Night

Claire-Louise Bennett

poetry

Issue No. 13

Sometimes a banana with coffee is nice. It ought not to be too ripe – in fact there should...

Of his art dealer, Daniel-Henry Kahnweiler, Pablo Picasso once wondered, ‘What would have become of us if Kahnweiler hadn’t had a business sense?’ The dealer, who did so much with his Paris gallery between 1907 and 1914 to usher Cubism into the world, felt similarly indebted: ‘it is great artists’, he said, ‘who make great dealers’ Then as now, one without the other is unimaginable   Kahnweiler is one among several historic dealers in modern and contemporary art who might serve as role models to the gallerists who are today responsible for bringing ground-breaking artists to a wider public He was, by some accounts, a meagre businessman, but he had the temper for Cubism when few others did He knew not only how to spot artists (he showed all the principal Cubists: Picasso, Georges Braque, Juan Gris, Fernand Léger) but also how to put them into conversation When his artists were unsure, he suggested titles for their work; he wrote about their paintings to provide audiences with context; he recognised the force of their style ‘I did not have the slightest doubt,’ he said, ‘as to either the aesthetic value of these pictures or their importance in the history of painting’   By the time he opened his gallery at 28, rue Vignon, the Salon de Paris had long been on the wane and public tastes were shifting The most affluent members of the bourgeoisie had the money for art, but only a nascent sensibility for abstraction They needed a gallery like his to put the art into context Kahnweiler’s Cubist programme – like Alfred Steiglitz’s photography programme at his 291 gallery in New York, or Charles Egan’s Abstract Expressionist emphasis at his eponymous New York gallery in the 1940s – lent focus to a new chapter in the history of modernism   The most important dealers have always made that their task That’s what the American art dealer Leo Castelli did with his gallery, which he opened in New York in 1957 In January 1958, he hosted Jasper Johns’ first solo show The exhibition, which included Johns’ paintings of American flags, rang the closing bell for

Contributor

August 2014

Claire-Louise Bennett

Contributor

August 2014

Claire-Louise Bennett grew up in Wiltshire and studied literature and drama at the University of Roehampton, before settling in...

The Lady of the House

fiction

Issue No. 8

Claire-Louise Bennett

fiction

Issue No. 8

Wow it’s so still. Isn’t it eerie. Oh yes. So calm. Everything’s still. That’s right. Look at the rowers – look at how fast...

READ NEXT

poetry

May 2017

Two Poems

Vala Thorodds

poetry

May 2017

THROUGH FLIGHT   For a moment we are borne into the air and then down.   It is there, behind...

poetry

Issue No. 8

The Cloud of Knowing

John Ashbery

poetry

Issue No. 8

There are those who would have paid that. The amount your eyes bonded with (O spangled home) will have...

poetry

July 2012

Fig-tree

John Clegg

poetry

July 2012

He trepans with the blunt screwdriver on his penknife: unripe figs require the touch of air on flesh to...

 

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