#picasso Exposition

[the--chaos]

🩷🖼️

[bizarreauhavre]

Paris, musée Picasso, 24 octobre 2023

[myquestionablejourney]

Eurotrip// Barcelona

[jacqwess]

Picasso, en veux-tu, en voilà...

Picasso forever. Or at least, 50 times Picasso, 50 years after his death. I didn't see all 50 (!), I saw only 3. But I loved them all. However often we may have seen some of the works shown, they remain fascinating.

[monsieurschnock]

[lesb0]

I don't think we can expect everyone to know a lot about art on a deep level, but I do miss more info in art museums. If there are texts I find that they tend to be very surface level. I think it would be nice if either there just was given more info on the plaques in the museums, or that there would be also a sort of digital tour you could follow on your phone where you could access the info. The digital tour on your phone gives you the possibility to give way more info than you would ever put on a plaque in a museum and you don't have to try to read it with 7 people at once. I just remember that two summers ago I was walking through the National Gallery in London constantly looking up paintings and the historical events/stories they depicted. I do think, with the internet in our pockets, that the people who are interested have so much more access to art and info about them, but I still think that for permanent expositions museums could put in some more effort.

Having info about the painter, the event/story depicted, the symbolism (or interpretation of it), and some info about the materials used per painting would be nice, but I am also aware that that would end up being a huge amount of work. Non-academic people just often don't have access to academic publications, or simply don't know how to access them (I'm writing here in English, and in my experience publications in English are way easier to find for free in some way than those in Dutch, German or French, at least those I've needed, but you still don't find everything).

Interesting! There is an ongoing critical restructuring of the art museum, as they grapple with changing the ways they function. being colonial institutions invented to create a civilizing effect for the uneducated masses who suddenly are no longer at work 15 hours a day is pretty bad, right? the 18th century ruling class was extremely worried about what poor people would do with all the new leisure time + human rights they had gained after all those pesky revolutions. so enter the public, free, national art museums.

This crucial book by Duncan first criticized national art museums as a ritual space to replace the power that the church used to have: you get dressed up nicely, walk into a museum and perform an act of pseudo-worship by ascending up the giant steps, you follow a map that leads you from one room to the next, in chronological order with Italian renaissance art as the most valuable in this little micro world, and the other cultures ranked lower (looted african art at the very bottom, unless its with a picasso). You speak quietly, never point, don't stand too closely, follow the map, and NEVER run. if you step out of this order, the guards and the other guests will get angry and yell to correct you.

The museum takes the low uneducated dirty working class and teaches them how to act proper through a civilizing ritual.

Last night I told my friend a story Barbara Kruger mentions on Katy Hessel's podcast, that she gained her visual culture education in the lowest way possible, in a basement as one of the copy-paste girls who put the ads together at conde nast.

She wanted to go to museums and teach herself more about art, but felt like she could never feel clean enough to go in, her clothes felt too dirty and old. she felt like she needed to be lint rolled first. Many of my students feel exactly the same, "I can't go to the museum in sweatpants"

As a museologist, there's an idea of removing this authoritative condescendingness to art museums, and that starts by making didactics have as little of the curator's voice as possible, with just a tombstone. I'm trained to look at an artwork and immediately know the things you mentioned: the era, materials, iconographies, and the artists biography. communicating that to a student takes an entire hour every week. I do not look at didactics because I already have immediate basic info and context of every artwork, and I want to spend my time looking at the art itself. About 1% of this info is available on google/wiki.

You think museums should have a digital didactic for each object in a permanent collection? That'd be a fun initiative, essentially digitizing the work of the docent educator.

How would you feel about other visitors, instead of lining up to read a long didactic, were lining up to look between their phone and the art for a 10+ mins lecture that theyre playing at volume level 100?

Now how do you feel when I tell you the British Museum alone has over 8 million objects in its permanent collection, and doing a digital explanation for each one would take centuries if every qualified artist historian in the world worked on it.

To bring up Katy Hessel again: she does a great job at bridging this gap! She only has an undergrad level of understanding art but that actually makes her a great art communicator and instagram docent, she explains really basic things every art historian already knows, the 1% of art history you get on wikipedia but through her great voice. Museums Without Men accomplishes what you propose on a one woman level; an audio guide to the best women artists in a museum collection:

[gacougnol]

ÉDOUARD BOUBAT

Exposition Picasso

1952

[el-moscorrofio-y-el-mercachifle]

Patricia: omg yeahhhh ofc I love picasso, when's his next exposition btw?😀

El Cuartel and everyone watching the scene:

My husband paused the episode just in time lmao i HAD to take a picture of their reactions. Sadly Aura María's expression doesn't come out as good in the pic but i swear it was *chef's kiss* in the show.

[aurumacadicus]

What are some of your favorite manga?

Oh I am all over the place lmao. I don't read much anymore, but I'd like to if I could capture that old nostalgia! I'm annoying and have many favorites <3

First, the obvious: Sailor Moon, Yu Yu Hakusho, and InuYasha. In fact, IY was my entry manga lmao. But! I was also obsessed with CLAMP, like Cardcaptor Sakura, Magic Knight Rayearth, Wish, Angelic Layer. (I did see the Cardcaptor anime first, and the manga came later.)

I was (am?) a hardcore shojo girl. Not because I don't like shonen or anything (YYH still one of my faves of that genre), but because they were short runs. Naruto was just beginning to come out when I was a kid, and it was daunting trying to buy/store that many books. I had Zodiac P.I., Tokyo Mew Mew (and à la Mode), and Natsume's Book of Friends (my one exception to short-runs in shojo I think lmao).

I also somehow got into Zombie-Loan? I'm not sure how that happened. It's not my usual genre and I was a bit put off by some of the things that happened in the first volume but I decided to give the second one a shot and with a little more exposition it became one of my favorites as well.

And! I would be remiss if I did not include my favorite shorter runs: I Am Here! and Genkaku Picasso. I am not kidding when I say both of these manga came into my life when I needed them most. I cried all the way through both of them (they are not sad, they just hit me hard because I was so lonely). They're the only manga I own that I haven't put in storage currently because I'll reread them constantly.

[mybeingthere]

Baya was born Fatma Haddad (1931 - 1998), in Bordj el-Kiffan, a beachy suburb of the city of Algiers, at the North-Western tip of Africa. Orphaned by age 5, she was adopted as a teenager by Marguerite Camina Benhoura, a French intellectual who noticed Baya’s artistic talent from a young age. In her homes in Algiers and the South of France, Benhoura provided Baya with art materials and access to French and Maghrebi art magnates.

In 1947, when Baya was just 16, she was discovered by Aimé Maeght, an established French art dealer, and André Breton, who included Baya’s works in the Exposition Internationale du Surréalisme at Galerie Maeght in Paris. Almost overnight she caught the attention of Picasso and Matisse, among other prominent artists, for her colorful, spontaneous and “childlike” compositions. “Her work allows us to question so many different histories,” said curator Natasha Boas. “The outsider. The outlier. The woman artist.”

Boas decided on the title, “Baya: Woman of Algiers,” drawing from three points of inspiration: a book by Assia Djebar, the leading feminist theorist from the Maghrebi region of North Africa, titled Women of Algiers in Their Apartment; Picasso’s The Women of Algiers series (1955) inspired by Baya herself; and The Battle of Algiers, a 1966 film directed by Gillo Pontecorvo, based on events during the Algerian War (1954-62).

https://www.thecut.com/.../the-algerian-teenager-who...

[havaforever]

SURREALISME au Centre Pompidou - Avec près de 500 œuvres et documents, c’est une traversée magistrale du surréalisme dans l’art mais aussi dans la littérature et le cinéma. Le riche parcours thématique fait alterner salles de peinture et cabinets intimes d’arts graphiques.

Dans sa scénographie, l’exposition s’est inspirée des expositions historiques du surréalisme et de leur volonté d’émerveiller, faisant même appel à un magicien pour créer dès l’entrée une atmosphère onirique.

De plus, « Surréalisme » montre enfin ces artistes femmes comme Léonora Carrington, Dora Maar et Léonor Fini qui, elles aussi, ont pris part au mouvement. Rien que pour cela : bravo !

Certes. Mais 500 œuvres, c’est beaucoup pour la rétine du visiteur qui ne connaît que les artistes les plus célèbres de ce mouvement né il y a un siècle (Dali, Max, Ernst, Magritte, etc.) et qui doit découvrir pour la première fois certaines personnalités, souvent illustrées par une seule œuvre. 

L’autre écueil de l’exposition est d’avoir voulu regarder trop loin dans le temps, puisque l’exposition montre des œuvres allant jusqu’aux années 1960, et trop grand dans l’espace avec l’expansion surréaliste en Amérique latine, aux États-Unis et au Japon.

Au final, on perd un peu le fil de l’histoire du mouvement. On ne comprend pas son importance sur certains artistes comme Picasso. En outre, ceux qui ont eu la chance de visiter l’exposition « La Révolution surréaliste » au Centre Pompidou en 2002 auront peut-être la nostalgie de cette sublime exposition classique, indépassable dans la réunion de chefs-d’œuvre qu’elle proposait.

[bizarreauhavre]

Paris, 24 octobre 2023.

[detournementsmineurs]

Exposition “Célébration Picasso, la Collection Prend des Couleurs” en collaboration avec Paul Smith au Musée Picasso, juillet 2023.

[artlimited]

Pierre Moignard | Mentir vrai https://www.artlimited.net/agenda/pierre-moignard-mentir-vrai-exposition-musee-picasso/fr/7585257

[furlantravelfashionblogger]

Découvrez deux nouvelles expositions immersives à l'Atelier des Lumières: "Le Douanier Rousseau, au pays des rêves" et "Picasso, l'art en mouvement"

17 Du 14 février au 29 juin 2025

Tarif plein: 18 euros

Atelier des Lumières, 75011$

Credits: Culturespaces / Cyrille de la Motte Rouge

#paris #atelierdeslumieres #art #expoimmersive

#exposition

[pierrecarree]

Exposition : L'art dégénéré, au musée Picasso

Mon mari et moi sommes allés visiter l’exposition L’art dégénéré, au musée Picasso, aujourd’hui. Mon mari, prof d’histoire-géo, est déçu par cette l’exposition. Souvent sur ce type de thématique je suis plus favorable que lui, car moins cultivée et plus candide. Mais là, je suis d’accord : l’exposition est petite et trop peu pédagogique. Nous avons imaginé le bénéfice que pourraient en retirer…