Tuesday, December 22, 2009
Monday, November 9, 2009
The second exhibition, American Stories looked at American painting of the everyday in the period 1765-1915 and spoke of the American society. The political was present everywhere: be it race discrimination, be it women disenfranchisement etc. What struck me is the way the two exhibitions could have been thought of together. Maybe because it was my first encounter with America, I saw these paintings also as historic snapshots, just as Frank's photos. They spoke of the construction of a nation, of its different components, faces and perspectives. I particularly loved this one, by Winslow Homer (American, 1836–1910), Dressing for the Carnival (1877).
Still at the Guggenheim I saw the work of an English artist, Anish Kapoor entitled Memory that seems so right these days when all is talked about is the memory of 1989. His work has to be seen on site to feel its weight, to be confronted to the feeling of asphyxiation. I of course took the literal translation of the work and saw it as the unbearable weight of the past... (a link to a recent show by Kapoor in England)
Monday, September 7, 2009
Friday, August 7, 2009
Tuesday, May 26, 2009
the second thing I would like to signal is the exhibition I would love to see and hopefully will! It is held in Stuttgart at the Württembergischer Kunstverein and it is called "Subversive practices" . It encompasses besides works from Romania (including art by Grigorescu), works from other dictatorships: Chile, Argentina and Brazil but also Russia, Spain, Hungary and GDR. It poses the question of artistic subversion by an appeal to artistic means in the sense that "it is only aesthetically that art is political" that is oh so true under dictatorial regimes. Hopefully I shall be going there and will write more after seeing the works.
Sunday, May 24, 2009
Thursday, April 30, 2009
"The Truth" by Michael D'Antuono
Friday, February 13, 2009
Saturday, February 7, 2009
street art or art in the street can denominate quite different things. I thought to write a bit about this topic after reading that one of the creators of the "Obama visual myth" was arrested recently for tagging...and this is not surprising. A rather recent form of art, street art (including graffiti and the youngest, the stencil) has been recognized as such (as a form of art) by the consecration of its anonymous artists as mainstream artists. Shepard Fairey is one of these artists that gained world fame by making the red and blue Obama poster. He is also a street artist dedicated to the futile passing signs along with some of his most famous colleagues such as Banksy (frescoes and stencils) and the Poster Boy (rather close to French New Realism). Yet street art even though appreciated as a form of art remains in the same time assimilated to vandalism and thus, a nowadays artist who communicates through everyday signs which he intervenes is still considered a vandal and risks prison... Controversy, the indispensable artistic ingredient, passes no more through the exhibition and declamation of long hidden taboos but through colored or simple lines drawn i/on the street there where everyone can “participate”. As participation is a verb that characterizes this new form of art: it nurtures itself on the passersby. Street Art is of course at a certain level continuing the anti-institutional artistic discourse that most link back to Duchamp’s gesture. Democracy also punishes art in this way. If the Chilean Muralists of the 1970s were punished by the Pinochet regime for their colored drawings politically driven so is Fairey; in his case not by the implications of his artistic gesture but for the gesture itself: one does not draw on the walls.
For what happened to Shephard Fairey check this out