[We are] pleased to announce The House on Utopia Parkway: Joseph Cornell’s Studio Re-Created by Wes Anderson, an exhibition conceived by curator Jasper Sharp and the acclaimed American filmmaker. Opening December 16, 2025, it brings the artist’s New York studio to the heart of Paris, transforming the storefront gallery at 9 rue de Castiglione into a meticulously staged tableau—part time capsule, part life-size shadow box—for the first solo presentation of Cornell’s work in Paris in more than four decades…
It is this world that Anderson and several of his longtime collaborators, together with exhibition designer Cécile Degos, now bring to life in Paris through more than three hundred objects and curiosities from Cornell’s own collection. Within this evocative setting, several examples of the artist’s shadow boxes—poetic reliquaries of memory and imagination—are on view, including Pharmacy (1943), which was once owned by Teeny and Marcel Duchamp and is modeled after an antique apothecary cabinet. Untitled (Pinturicchio Boy) (c. 1950), an iconic work from Cornell’s celebrated Medici series, frames multiple reproductions of Bernardino Pinturicchio’s Portrait of a Boy (c. 1480–82) behind amber-tinted glass, juxtaposing them with guidebook maps of Italian streets and wooden toys. A Dressing Room for Gille (1939) pays homage to Jean-Antoine Watteau’s Pierrot (1718–19), also known as Gilles, in the collection of Musée du Louvre, a short walk from the gallery. And Blériot II (c. 1956) honors Louis Blériot, the French inventor who was the first person to make an engine-powered flight across the English Channel. Alongside these works are loans from the Joseph Cornell Study Center at the Smithsonian American Art Museum in Washington, DC, including a number of unfinished boxes by the artist that provide a rare glimpse into his process.
Where: 9 rue de Castiglione 75001 Paris When: December 16, 2025–March 14, 2026
Among the few possessions he left to his heirs was a set of Encyclopedia Britannica in storage at the Lindbergh Palace Hotel under the names Ari and Uzi Tenenbaum.
In November, art and memorabilia from the collection of Gene Hackman (1930-2025) were auctioned by Bonhams in New York and Los Angeles.
Renowned for his meticulous composition and distinctive use of color and symmetry, Yeoman has helped define the visual language of contemporary cinema. His breakthrough came with Gus Van Sant’s Drugstore Cowboy, which earned him an Independent Spirit Award for Best Cinematography. Yeoman’s long-standing collaboration with director Wes Anderson began with Bottle Rocket and includes Rushmore, The Royal Tenenbaums, The Life Aquatic with Steve Zissou, The Darjeeling Limited, Moonrise Kingdom, The French Dispatch, Asteroid City, and The Grand Budapest Hotel, which earned the cinematographer an Oscar nomination, as well as BAFTA and ASC Award nods.
Known for its meticulously considered DVD releases, Criterion outdid itself with its new 20-disc Wes Anderson collection. Containing the director’s first 10 films on 4K UHD DVD, the Anderson Archive brings the auteur’s precise design sensibilities to this stunning box set. At $400, the price dares potential purchasers to wait for one of Criterion’s many 50% off sales. Still, with the holidays around the corner, it’s a hefty, luxurious gift for the extremely lucky Anderson fanatic in anyone’s life, or the perfect start to a burgeoning cinephile’s physical media collection. We highlighted the collection back in the fall, but it bears repeating: This set contains new 4K masters of the director’s first 25 years of output, running from his early breakout Bottle Rocket, Rushmore, and Royal Tenenbaums through 2021’s The French Dispatch. His two stop-motion features, Isle Of Dogs and The Fantastic Mr. Fox, appear alongside 25 hours of special features, 10 illustrated books, and new essays from writers Richard Brody, Bilge Ebiri, and Moeko Fujii, as well as filmmakers James L. Brooks and Martin Scorsese. Could we ask for anything else? Sure, Asteroid City and The Phoenician Scheme. For now, this is most satisfactory.
The film’s most dominant musical force is Russian-born composer and conductor Igor Stravinsky. His dramatic ballet scores Petrouchka and L’Oiseau de Feu (The Firebird) (taken from recordings conducted by Stravinsky himself) underpin the characters’ emotional and geographic journeys. In addition to pieces from Stravinsky’s ballets, Anderson and Poster zeroed in on the soaring final movement of Stravinsky’s Apollon musagète. “Apotheosis” plays during the opening credits sequence, a way to introduce Zsa-zsa as “epic.” “Our film is about a man who is like a mountain,” says Anderson. “He is himself of epic scale, his life is on an epic scale.”
