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But why, exactly, does Gorey continue to draw fans en masse now? In part it may be because his art and writing are a cleverly executed study in contrast. “Gorey’s work walks that perfect line between dark and funny, childlike and morbid,” says Compton. While he clearly reveled in darkness, there was always light too. “His work welcomes us into a gloomy world, but also makes this world hilarious and strangely lovable,” adds Schwartzburg. And while some of that parallel proto-Victorian universe Gorey conjured feels old-fashioned, the work somehow doesn’t age. “It’s emotionally timeless,” says Compton. “He captured loneliness, absurdity, and curiosity in a way that still feels modern.” And, crucially, in a way that was, and is, deeply human—which in 2025 may be more valuable than ever.Just Say No To Digital Id Tee Shirt
“Something Else Entirely: The Illustration Art of Edward Gorey” is on view at the Society of Illustrators through January 3. “Edward Gorey: The Gloomy Gallery” is on view at Houghton Library through January 12. In 1981, the late American Abstract Expressionist Joan Mitchell appeared in the pages of Vogue wearing a black leather blazer, cornflower blue turtleneck sweater, and a pair of rust-colored pants. Her trademark spectacles and no-nonsense Prince Valiant haircut, along with the electrifying diptych Two Sunflowers (1980), completed the scene. It’s a wonderful example of Mitchell’s often terrific style. In the accompanying profile, art critic Barbara Rose remarked on the fact that Mitchell refused to remove her glasses, “even to be photographed”—adding that the “high degree of discipline in Mitchell’s work is especially surprising since she is so casual about dress and decor that she could easily be mistaken for the last Beatnik.” This year marks the centennial of Mitchell’s birth (a new show, “To Define a Feeling: Joan Mitchell, 1960–1965,” opened at David Zwirner in New York this week), and it provides an opportunity to reevaluate the life and work of one of the greatest artists of the 20th century. In front of a Mitchell canvas, whether George Went Swimming at Barnes Hole, but It Got Too Cold (1957), La Vie en rose (1979), or the 21 paintings that make up the La Grande Vallée series (1983–84), all kinds of emotions can materialize. She channeled the thrill of color with her brushstrokes or marks—she used rags and her hands, too—often creating a kind of music for the eyes. At the Louis Vuitton Foundation in Paris, where a show that put her work in dialogue with Claude Monet’s ran simultaneously with a major Mitchell retrospective, I trembled at her paintings’ glorious rhythms and evocative mysteries.
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