Kerry James Marshall: no Musée d'Art Moderne de Paris de 18 de setembro de 2026 a 24 de janeiro de 2027
ZURBARAN
7 Oct 2026 - 25 Jan 2027, Louvre
TINTORETO
11 set a 24 jan, Jacquemart-André
Mostrar mensagens com a etiqueta Paris. Mostrar todas as mensagens
Mostrar mensagens com a etiqueta Paris. Mostrar todas as mensagens
quinta-feira, 28 de maio de 2026
domingo, 11 de maio de 2025
2025, Paris Noir, Beaubourg
11/05/2025
PARIS NOIR / WHEN WE SEE US
Hoje, revendo à distância as duas exposições, penso que "PARIS NOIR", a mostra actual no Centro Pompidou, foi concebida em oposição a "WHEN WE SEE US", de Koyo Kouoh, que é de 2022 na Cidade do Cabo - depois levada a Basileia e Bruxelas, a seguir irá a Estocolmo, até 2026 -, subordinando as dinâmicas pan-africanas, autóctones, espontâneas e locais, também crescentemente cosmopolitas e atlânticas, mas sempre observadas a partir de África, à dependência dos centros do Norte e em especial de Paris. A morte de Koyo Kouoh, nas vésperas de dirigir a Bienal de Veneza, torna mais premente essa análise, de que não encontro qualquer precedente.
A de Paris é uma exp. franco-africana sempre interessada em propor como decisivas as referências à "formação artística clássica" e aos "mestres modernos", aos trânsitos por Paris, escolares e políticos. associando "circulações artísticas e lutas anti-coloniais 1950-2000", conforme o subtítulo.
Significativamente, a Cronologia começa pelo G.I.Bill, de 1944, a lei que permitiu aos soldados norte-americanos (os brancos, como Kitaj, judeu, e os "de cor") ficar a estudar na Europa.
O programa de "Paris Noir" segue o calendário que vai da revista 'Presence Africaine' de Alioune Diop em 1947 até à 'Revue Noire' de 1991-2000, a luxuosa publicação da associação Afrique en Créations sustentada pela Cooperação francesa. ("En janvier 1990, le ministère français de la Coopération organise une rencontre entre trois cents créateurs africains et français à Paris afin de mener une réflexion autour de deux thèmes majeurs : le rôle des artistes et des intellectuels dans l’évolution des pays africains et l’importance de la dimension culturelle dans le développement économique et social du continent africain" - Cronologia; em 2000 fundiu-se com a Association Française d'Action Artistique - AFAA).
A "Revue Noire" nasceu na sequência dos "Magiciens de la Terre" de 1989 (Jean-Hubert Martin), em paralelo com a Collection Pigozzi dirigida por André Magnin, desde o mesmo ano (Caacart.com) e associada aos Rencontres de Bamako, a partir de 1994.
A linha "Magiciens...", "Revue Noire" e Pigozzi/Magnin privilegiou, até agora, a divulgação de artistas africanos residentes em África, implantados nas sociedades e nos mercados locais, em geral sem formação académica dita modernista, numa linha que vem da acção de Ulli Beier na Nigéria (o Mbari Club) e da revista "Black Orpheus": é ou era a afirmação da possibilidade de uma arte contemporânea africana para a qual a modernidade, depois da produção tradicional em extinção, depois das independências, não implicava a dependência da tradição vanguardista e escolar europeia, com a sua sucessão de estilos colectivos. Entretanto o grande mercado também passou a percorrer África e as diásporas (emigrações, exílios e formações escolares) abriram novas circulações artísticas: a arte pan-africana ou Black tornou-se um grande nicho especializado do mercado global e um tópico obrigatório das grandes instituições.
A presença da "Revue Noire" no Pompidou é convenientemente discreta, para não sublinhar o seu protagonismo oficial no curso final do período documentado - aliás, o mercado francês perdeu depressa esse protagonismo: uma escultura / espeto que perfura as suas edições, a capa do 1º número dedicado ao senegalês Ousmane Sow (presente no final com uma obra comemorativa de 1989) e uma ampliação da foto emblemática da série Les Fous d'Abidjan de Dorris Haron Kasco, livro de 1994.
Entretanto, é muito notória a ausência de obras da Colecção Pigozzi e da Galeria André Magnin, que estão presentes em Bruxelas, indicando em Paris a divergência (ou conflito) de orientações.
Pascale Marthine Tayou - 1966, Cameroun, vit et travaille à Gand (Belgique) et Yaoundé (Cameroun).
"Fétiche Pascale", 2011
(numéros de Revue noire) Collection Revue noire - JLP - PMSL
"Fétiche Pascale fait partie d'une série de sculptures totémiques constituées d'un empilement de numéros du magazine Revue Noire, revue internationale d'art contemporain présentant les œuvres d'artistes, musiciens ou créateurs de mode africains ou caribéens, lancée en mai 1991 à Paris par Jean-Loup Pivin, Simon Njami, Pascal Martin Saint Leon et Bruno Tilliette. Pascale Marthine Tayou... témoigne ainsi de sa proximité avec l'équipe de rédaction, tout en louant leur contribution majeure à l'histoire de l'art contemporain africain, à travers des publications et des expositions pionnières à Paris comme « Ethnicolor» (1987) ou « Suites Africaines » (1997)."
Ousmane Sow (1935 - 2016, Dakar Sénégal)
Marianne et les révolutionnaires, 1989
Fer, béton, bois, tissus, pigments
Musée du quai Branly - Jacques Chirac
Dorris Haron Kasco , Fous d'Abidjan
Marianne et les révolutionnaires, 1989
Fer, béton, bois, tissus, pigments
Musée du quai Branly - Jacques Chirac
Ousmane Sow, kinésithérapeute, débute dans les années 1960 une œuvre sculpturale fondée sur l'application, sur une structure de métal, de paille et de toile de jute, d'un mélange fait de substances hétéroclites, de colle et de terre. Marianne et les révolutionnaires fait partie, avec des sculptures du chef de la révolution haïtienne, Toussaint Louverture, et de Gavroche, personnage des Misérables de Victor Hugo, d'une série commémorant le bicentenaire de la Révolution Française. En 1991, la couverture du premier numéro de Revue Noire affiche une de ses œuvres et en 1999, son exposition sur le Pont des Arts est un grand succès populaire. Ousmane Sow est en 2013 le premier artiste noir à entrer à l'Académie française.
Dorris Haron Kasco , Fous d'Abidjan
AS SECÇÕES DE PARIS NOIR
1. Paris panafricain
2. Édouard Glissant, le Tout-Monde
3. Paris comme école
4. Surréalismes afro-atlantiques
5. Le Saut dans l’abstraction
6. Paris Dakar Lagos
<"La ville nigériane d'Ibadan doit aussi être mentionnée, puisqu'on voit se mettre en place le Mbari Club, un collectif culturel dont le concept est né dans la capitale française et qui développe alors une esthétique radicale d'émancipation, relayée par la revue Black Orpheus", sic> rerere-se assim a revista de Ulli Beier..,.e aqui a manipulação francesa atinge o ponto culminante
7. Solidarités révolutionnaires à Paris
8. Jazz – Free Jazz
9. Retours vers l’Afrique
10. Nouvelles abstractions
11. Affirmations de soI
12. Rites et mémoires de l’esclavage
13. Syncrétismes parisiens
14. Les nouveaux lieux du Paris Noir
2. Édouard Glissant, le Tout-Monde
3. Paris comme école
4. Surréalismes afro-atlantiques
5. Le Saut dans l’abstraction
6. Paris Dakar Lagos
<"La ville nigériane d'Ibadan doit aussi être mentionnée, puisqu'on voit se mettre en place le Mbari Club, un collectif culturel dont le concept est né dans la capitale française et qui développe alors une esthétique radicale d'émancipation, relayée par la revue Black Orpheus", sic> rerere-se assim a revista de Ulli Beier..,.e aqui a manipulação francesa atinge o ponto culminante
7. Solidarités révolutionnaires à Paris
8. Jazz – Free Jazz
9. Retours vers l’Afrique
10. Nouvelles abstractions
11. Affirmations de soI
12. Rites et mémoires de l’esclavage
13. Syncrétismes parisiens
14. Les nouveaux lieux du Paris Noir
2025 Paris Noir (2), Beauford Delaney e alguns outros artistas
alguns artistas em PARIS NOIR
BEAUFORD DELANEY 1901-1979
VITEIX
quarta-feira, 2 de novembro de 2022
2022 Paris 2 a 7 nov.
Musée d’Art Moderne ville Paris ( https://www.mam.paris.fr/fr )
1 Oskar Kokoschka (até 12 FEVRIER)
[… Francisco Tropa] este não conta…
Petit Palais ( https://www.petitpalais.paris.fr/expositions )
2. Walter Sickert (29 jan)
3. André Devambez – Vertiges de l’imagination, até 31 Dez.
Orangerie (https://www.musee-orangerie.fr/fr)
4. Sam Szafran. Obsessions d'un peintre (Até 16 jan.)
[ Mickalene Thomas: Avec Monet]
[Les arts à Paris]
Beaubourg – Pompidou ( https://www.centrepompidou.fr/fr/)
5. Alice Neel (16 jan.)
6. Gérard Garouste (2 jan)
Orsay ( https://www.musee-orsay.fr/fr/visite )
7. Edvard Munch
8. Rosa Bonheur (1822-1899)
[Kehinde Wiley… Gal. Templon]
Musée Jacquemart-André (https://www.musee-jacquemart-andre.com/)
9. Füssli, entre rêve et fantastique
LOUVRE (https://www.louvre.fr/)
10. Les Choses. Une histoire de la nature morte
Palais de la porte Dorée, Musée de l’Immigration
11. Paris et nulle part ailleurs: 24 artistes étrangers à Paris. 1945-1972
https://www.histoire-immigration.fr/
12. Bourse de Commerce – Collection Pinault
Anri Sala
[….œuvres in situ qui dialoguent avec l’architecture et le parcours de visite: …pelo templo do $]
https://www.pinaultcollection.com/fr/boursedecommerce
13. le Centquatre ( https://www.104.fr/)
Foire Foraine d’Art Contemporain
quarta-feira, 5 de outubro de 2022
Alice Neel, 2000 Whitney / 2021 MET/ 2022 Pompidou
Onde estava Alice Neel?
(1900-81) https://www.aliceneel.com/
Alice Neel, Un regard engagé, Pompidou, dir. Angela Lampe, 2022 (& Barbican)*
Alice Neel, ed. Ann Temkin. Philadelphia Museum 2001 (Whitney 2000 etc)
Artist, Humanist, Individualist.
"Alice Neel was one of the great American painters of the twentieth century and a pioneer among women artists. A painter of people, landscape and still life, Neel was never fashionable or in step with avant-garde movements. Sympathetic to the expressionists of Europe and Scandinavia and to the darker arts of Spanish painting, Alice Neel's style and approach was distinctively her own.
Throughout her career, she painted with unwavering social conscience, capturing everyone from left-wing activists in 1930s Greenwich Village to art world luminaries like Andy Warhol. Never bound by artistic fashion or social convention, Neel's work celebrated human dignity and championed social justice causes decades before they gained mainstream acceptance.
Her fearless portraits revealed the psychology of her subjects with remarkable honesty and empathy. Today she is recognized as a master of 20th-century American painting, whose work anticipated many contemporary conversations about identity, equality, and representation."
Realismo norte-americano contemporâneo desde 1960, from Pennsylvania Academy of Fine Arts (tx Frank Goodyear Jr) Gulbenkian 1982 catálogo. A.N. "Linda Nochlin & Daisy"pp. 49, 60*
Art in the seventies, Edward Lucie-Smith, Phaidon, 1980. A N and Guston senior figures. Erotic feminism. Political art. p. 92-94 swing back towards content, not simply exercise of style, historical tradition of Modernism, the elitist context. to shock, identify with political avant-garde. veteran artists
The american century, Art & Culture 1950-2000, Lisa Phillips, Whitney Museum, 1999. p. 46 Mid 50's Figurative expressionism. Alex Katz, L Rivers, Fairfield Porter 1960, A N "raw depictions of human vulnerability and intensity". Innovative figuration. Bay Area Figurative school California. Diebenkorn. Golub, Chicago. // p. 260 a way out of the opressive academy of formalism: Guston 1969> ; A N since the thirties "frank and confrontational portraits of strong-willed characters depicted against blank grounds". "crude and expressionist methods in their emotionally charged works"." they embraced subject matter and psycological content" 258-60. // film "Pull my daisy" 1959 dir. R. Freank e Alfred Lesli, A N and Larry Rivers, New american film 68.
Realism in the 20th century painting, Brendan Prendeville, Thames & Hudson, 2000, pag. 206-07, 208 (cf. Sherman, Hockney, Katz ("painterly perceptualist", 50', Fairfield Porter e Larry Rivers)... (Paula Rego). Chap. 4: New Realities: Hopper, Morley. "Embedded Mater"
The word new made. Figurative painting in the twentieth century, Timothy Hyman, Thames & Hudson, 2016. "The libertarian line: A N and the modern portrait (1933-80)" pp.104-109.
Postwar Art between the Pacific and the Atlantic 1945-1965. Enwezor, Haus der Kunst Munchen, Preste. "Realism as international style", p. 444, 459 ilust. 1953, with Beauford Delaney 1941, John Biggers 1955, J P 1953. Guttuso. "The United States had its own contingent of fellow travelers. As Alice Neel, considered by many a pioneer of Socialist Realism in American painting, declared in 1951, "I am against abstract and non-objective art because such art shows a hatred of human beings. East Harlem is like a battlefield of humanism, and I am on the side of the people here, and thet inspire my paintings". The dandyish pose struck by the young Georgie Arce in his portrait by Neel is but a thin veneer over the violent life of teenagers of color in Spanish Harlem" p. 444.
PostwarRPostwarea
1 Barbican:
Discover d works of Alice Neel, the court painter of the underground, at the Barbican Art Gallery until May 21st, 2023. Through her vivid portraits, Neel retaliated against exclusionary histories and highlighted the fundamentally political nature of how we look at others. #AliceNeel #BarbicanArtGallery
Artists You Need to Know: Alice Neel
Alice Neel is widely regarded as one of the foremost American artists of the twentieth century.
As the avant-garde of the 1940s and 1950s renounced figuration, Neel developed her signature approach to the human body.
Working from life and memory, she created daringly honest portraits of her family, friends, art world colleagues, writers, poets, artists, actors, activists, and more.
Her paintings, which are forthright, intimate, and, at times, humorous, engage overtly and quietly with political and social issues.
Neel's ability to depict those around her with unfazed accuracy, honesty, and compassion displays itself throughout her canvases.
Calling herself a "collector of souls," Neel is acclaimed for not only capturing the truth of the individual, but also reflecting the era in which she lived.
Images and Text Courtesy of David Zwirner #AliceNeel
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Regards sur l'art americain des années soixante, dir. Claude Gintz, Ed. Territoires 1979 ---
La peinture americaine, Le XX siècle, Barbara Rose, Skira, 1986 ---
Le triomphe de l'art americain. Les années soixante, tome 2, Irving Sandler, Ed. Carré 1990 ---
American art in the 20th century 1913-1993, Royal Academy 1993, Joachimides & Rosenthal ---
Identity and alterity. Figures of the body 1895/1995, 46ª Biennale di Venezia, 1995 Jean Clair ---é incompreensível a ausência de AN, mas estão Maria Lassnig e Marlene Dumas
Modern starts, 1880-1920, MoMA 1999 ---
Making choices, 1929-1955, MoMA ---
Walker Evans & company, Peter Galassi, MoMA ---
Modern despite modernism, Robert Storr, MoMA 2000 ---
American art since 1945, David Joselitt, Thames & Hudson, 2000 ---
Art since 1900, Foster Krauss Bois Buchloch, Thames & Hudson, 2004 --- 1959. Bacon, Freud, Guston: "grotesque cartoonish desfigurations" p. 477 "third generation of neo-expressionists". painterly expressionists: Appel, Diebenkorn Golub Paolozzi. Cold war politics of figuration, CCF.
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2021 J. Hoberman The Point
“Alice Neel: People Come First,” on view at New York’s Metropolitan Museum of Art through July, may be the most enthusiastically received and is certainly most aptly named exhibition in the Met’s recent history. The show is comprehensive in presenting all aspects of Neel’s work, and the timing is propitious. Neel was declared a major American painter after her 1974 Whitney Museum retrospective, but her current canonization coincides with an increasing attention paid to known but hitherto marginalized, politically-aware women artists. Neel’s Met retrospective is concurrent with the first New York museum survey given to the underappreciated, unclassifiable Niki de Saint Phalle, and another major museum show that argues the centrality of the French-American sculptor and New York School outlier Louise Bourgeois to postwar intellectual trends by anointing her “Freud’s daughter.”
Nearly four decades after her death, Neel reappears as an avatar of art-world diversity. If in 1974, she was hailed as a feminist (another term she uneasily accepted), she now is a woman who shucked off her white middle-class privilege. A hardcore bohemian as well as a dedicated (if eccentric) Communist, Neel spent much of her career in near poverty, living in New York’s Spanish Harlem and painting her children, her lovers and her neighbors. But, paradoxically, after years of obscurity, Neel grabbed the spotlight. By expanding her subjects to include celebrated art-world figures, she became one herself—a shrewdly dotty media personality.
That revolt is amply apparent at the Met, although Neel was hardly a primitive. She looked at paintings as well as people, absorbing ideas from the modernist masters Van Gogh, Munch and, in her window-views, Edward Hopper. Her style, however, is all her own. Given the apparent rapidity with which she worked (at home in her Manhattan tenement apartments), she was a genius sketch artist. There’s an adroit cartoonish quality to many of her canvases. Heads tend to be outsized and pushed forward, in what the art critic Lawrence Alloway described as “cephalic looming.” Features can be slightly lopsided. Hands are elongated but private parts, when they appear, are typically front and center. Other parts can be perfunctory.
The critic Harold Rosenberg, who knew Neel in the 1930s when both were subsisting on stipends from the Federal Art Project, compared her “objective cruelty” to that of the photographer Richard Avedon: “Both artists record what has befallen their subjects or what they have done to themselves. With the imperturbable ruthlessness of nature, but without a trace of personal malice, faces, bodies, postures are induced to speak for themselves.” Neel may have functioned as a camera but she was hardly a photorealist like Chuck Close, and seems to have only rarely if ever worked from photographs.
Neel took her subjects where she found them in her daily life—an amiably grinning door-to-door Fuller Brush salesman, a tormented-looking museum security guard, the Haitian woman who helped clean her home and look after her grandchildren. At the height of her career in the Sixties and Seventies, Neel portrayed art critics, curators, celebrity artists and louche celebrities—not just Warhol but the Warhol superstar Jackie Curtis, as well as the porn-star performance artist Annie Sprinkle—but she had a particular fondness for political activists and, more sensationally, heavily pregnant nudes—sprawled out and heroic.
#
Alice Neel was born into a proper old American family in a small Pennsylvania town, attended an all-women’s art school in Philadelphia, then moved with her Cuban husband, also an artist, to Havana. Moving to New York City around the time the stock market crashed, her life fell apart—a child died of diphtheria; her husband deserted her, taking with him their second daughter; she was a hospitalized twice, once for a nervous breakdown and again after an attempted suicide.
Hospital scenes figure in her 1930s paintings—along with urban landscapes and remarkably intimate domestic vignettes. One delightfully free-form watercolor from 1935, “Untitled [Alice Neel and John Rothschild in the Bathroom],” shows two lovers passing water after sex, she straddling the toilet as she puts up her hair, he urinating into the sink. A sort of Ashcan expressionist, Neel painted Depression-era New York City as a gaudy necropolis. Impassive and monumental, some portraits show the influence of Diego Rivera’s stoical indios; others are enlivened by bits of surrealism. A miniature skeleton pours blood from the heart of the poet Kenneth Fearing, painted in 1935. The notorious “Joe Gould” (1933) is a festival of male organs. Gould, the Greenwich Village’s most publicized boho character—and the author of a famous, never-written “oral history of the world” who went by the moniker Professor Seagull—appears as a demonically grinning demiurge, naked, sporting three penises and attended by two more, one circumcised, one not, courtesy of the headless male torsos on each side of his makeshift throne.
Perhaps Neel’s greatest indecency was her membership in and commitment to the Communist Party, which she joined in 1935 when she, along with many of the future Abstract Expressionists and countless other painters, was employed by the Federal Art Project, and her work was becoming more overtly political. The Met’s exhibition title “People Come First” is taken from a December 1950 article on Neel written by the Daily Worker columnist Mike Gold, America’s most vociferous proponent of proletarian art. In the late Thirties, Neel moved out of Greenwich Village, along with her lover, the Puerto Rican musician, José Negron, and took an apartment in Spanish Harlem. “T.B. Harlem,” her painting of Negron’s hospitalized brother, his emaciated, pain-racked torso partially concealed by a loincloth of hospital bedding, is a social realist pieta. Eventually, the Federal Art Project ended and Negron left, but Neel, who now had a young son, never stopped painting. She went on public assistance and took up with the left-wing filmmaker Sam Brody, with whom she had her fourth child, a second boy.
American abstraction triumphed. Meanwhile, Neel—living in a slum neighborhood represented by Vito Marcantonio, the most left-wing of New York City congressmen—exhibited at the politically-minded ACA Gallery, contributed illustrations to the CP journal Masses & Mainstream, attended blacklisted educator Annette T. Rubinstein’s “Writers and Critics” study group, took courses in Marxism and gave slide lectures at the Jefferson School, and painted a number of Party heroes. Among them were her editors Phillip Bonosky and Mike Gold, schoolteachers, the neighborhood activist Mercedes Arroyo (looking up and off to the side like an angel awaiting her own annunciation) and the writer-actress Alice Childress, beautifully turned out in evening dress. Other paintings included a demonstration to free Willie McGee, an early-fifties Communist Party cause célèbre, and, most likely working from a Life magazine photograph, the funeral of the veteran labor organizer Mother Bloor. Beneath a reproduction of “The Spanish Family” (1943), a gentler riff on Picasso that could be considered an exercise in “get real”-ism wherein, flanked by two young children and holding a baby, a sad-faced Madonna transfixes the viewer with a look of accusatory resignation, Gold proclaimed Neel “a new star of social realism,” not least because she had taken to representing the people of East Harlem.
In the late 1950s, Neel painted her way back into an art world that looked askance at such work. Around the time that she produced two portraits of the critic-poet-curator Frank O’Hara, one flattering and one not, Neel was cast in a motherly role in the Robert Frank-Alfred Leslie-Jack Kerouac Beatnik home movie Pull My Daisy. (“They picked me because I looked like a conventional American type,” she said.) Now sixty, Neel had a new visibility. Younger artists were charmed. Sitting for Alice became a thing. Begun around the same time, her project has a certain affinity to Andy Warhol’s series of three-minute “screen tests.”
In general, Neel’s sixties canvases employ a lighter palette. They are airier, more unfinished. The handling of the paint exudes casual confidence. Not that Neel’s political commitments wavered. She remained concerned with class, racial and gender inequality for the rest of her life, kept a picture of Lenin on the wall and maintained her monumentally unfashionable affection for the Soviet Union, which some turned into an excuse to not take her seriously. (In 1981, she partly financed a show of her works at the Artists’ Union exhibition hall in Moscow.) She painted not only artists but also activists like James Farmer, the head of the Congress of Racial Equality, in 1964, and the militant feminist Irene Peslikis (“Marxist Girl”) in 1972. She went to hear Malcolm X speak, gave money to the Black Panthers and demonstrated against the Metropolitan Museum’s infamous “Harlem on My Mind” show, attacked (not altogether fairly) for an absence of African American, or indeed any, painting.
Neel’s breakthrough Whitney retrospective, in 1974, was generally well received but panned by the right-wing New York Times critic Hilton Kramer. “You must hate your mother,” Neel told Kramer, encountering him at an opening after he insulted her draftsmanship. Doubtless aware of Neel’s politics, Kramer took her art-world portraits personally, complaining that people were “shown to be cruel or pompous or vacant or spaced out or just a little nutty.” (Twenty-five years later, Kramer was still complaining in a piece with the headline “The Mob Loves Alice Neel, But I Think She’s Mean.”) True, Neel used a bit of impasto to enhance the bad skin of the sculptor Robert Smithson in a 1962 portrait, and her 1967 portrait of Met curator Henry Geldzahler, perhaps taken on in a transparent attempt at logrolling, amply communicates the sitter’s discomfort, pinned to a chair like a butterfly under glass.
On the other hand, Neel responded to the anti-glamour of the Warhol superstar Jackie Curtis with “Jackie Curtis as a Boy” (1972), which, given pride of place in the exhibit, has, in Curtis’s imperious posture and suspicious sidelong glance, uncanny echoes of El Greco’s portrait of Cardinal Fernando Niño de Guevara, the Grand Inquisitor during the Spanish Inquisition (also in the Met). We don’t question Jackie, Jackie interrogates us.
Like Neel’s saggy self-portrait, “Alice Neel: People Come First” overflows with human interest. My second time through the exhibit, I found myself standing before the nude portrait of the art critic John Perreault, behind two women of a certain age (more or less my own). We considered Perreault lounging on an unmade bed, a scruffy male odalisque whose regally curved penis rests cushioned on his scrotum. “That painting changed my life,” one woman told the other. “I realized that I had never really looked at my husband.”
https://www.metmuseum.org/ex2021/alice-neel/exhibition-galleries
2021 The Metropolitan Museum of Art in association with the Guggenheim Museum Bilbao and The Fine Arts Museums of San Francisco
Alice Neel: People Come First is the first museum retrospective
in New York of American artist Alice Neel (1900–1984) in twenty years.
This ambitious survey positions Neel as one of the century’s most
radical painters, a champion of social justice whose longstanding
commitment to humanist principles inspired her life as well as her art,
ALICE NEEL The Early Years 2021 david-zwirner/exhibitions/alice-neel-the-early-years/
see Jacob Lawrence, Hyman 180-84.
Red Grooms b 1937
quinta-feira, 2 de março de 2017
quinta-feira, 7 de dezembro de 1995
1995, Martin Parr: Small Word / Quel Monde!, em Paris. From A to B, Signs of the Times
PARR, O BANAL INVISÍVEL
Um crítico entusiasta, Michel Guerrin no «Le Monde», aponta-lhe o pessimismo de Diane Arbus, a atracção de Walker Evans pela cultura vernacular, a faculdade de fazer entrechocar os planos como Lee Friedlander, a facilidade de Garry Winogrand para apanhar as pessoas no turbilhão das ruas, a mesma vontade de Robert Frank de confrontar-se com os temas das fotografias. As melhores referências. Com mais comedimento, pode dizer-se que é o chefe de fila da actual fotografia britânica de reportagem, herdeiro de Bill Brandt e Tony Ray-Jones, contemporâneo de Chris Killip e Nick Waplington.
Diz que «o mundo dos grandes repórteres, das guerras e dos refugiados, não tem nada a ver com aquele em que vivemos»: «Mostro coisas pelas quais os fotógrafos não se interessam, porque lhes parecem evidentes. Mas não são.»
Martin Parr, sem título, 1995 (Magnum Photos 1995 / Galerie du Jour Agnès b) foto do convite
MARTIN Parr é um homem da era da televisão, o fotógrafo do consumismo e o seu crítico mais ácido, com uma obra torrencial que explora todos os meios e lugares de circulação. Três novos livros ou catálogos e outras tantas exposições foram, em Outubro, outra forte presença parisiense.
O Centre National de la Photographie, instalado no Hotel Salomon de Rothschield, rue du Berryer, mostrou «Small World», exposição organizada pela Photographer's Gallery, de Londres, com edição francesa prefaciada por Roland Topor: Quel Monde!, «a global photographic project» sobre o mundo dos turistas, realizado entre 1987-1994 (Marval, 1995, 96 págs., 280 FF; ed. inglesa, Dewi Lewis Publishing).
O desenhador e escritor «pânico» apresenta:
«O turismo de massas resulta de uma ideologia do consumo, como as cruzadas e as peregrinações eram o fruto da fé religiosa. O destino dos novos cruzados já não é conquista dos Lugares Santos, mas a apropriação dos Lugares Comuns.»
Em salas paralelas expunha-se um inquérito sobre os ingleses e os seus automóveis, levado a cabo, em 1992-3, em conjunto com a rodagem de uma série homónima de cinco filmes com texto e direcção de Nicholas Barker. From A to B — Tales of Modern Motoring, de Martin Parr, é um livro BBC Books, de 1994, e uma exposição que andou em itinerância por 52 áreas de serviço das estradas britânicas.
O projecto é já uma sequela de Signs of the Times — a Portrait of the nation's taste, livro e série de TV que explorou as atitudes inglesas a respeito da decoração doméstica, do bom e mau gosto no lar.
Para esta nova produção, 70 automobilistas foram interrogados e filmados pela BBC 2: as mulheres e os carros, carros de serviço, carros familiares, os carros dos filhos e as discussões conjugais. Parr fotografou sempre depois da rodagem dos filmes — a reportagem é encenada, os modelos são actores dos seus próprios papéis — e as imagens são expostas com frases produzidas pelos retratados, por vezes em provas de grande formato.
Na inauguração do CNP, segundo relatou o «Le Monde», Cartier-Bresson, colega da Magnum, não conteve o comentário azedo: «Nós pertencemos a dois sistemas solares diferentes. E porque não?»
Autor de um imenso inquérito sobre os modos de vida e os gostos das classes médias, Martin Parr, com a sua câmara 6×7 e o flash usado com luz diurna, que faz explodir as cores e condensar o espaço, nunca é um repórter invisível nem distanciado. O seu olhar é assassino mas também muito próximo das pessoas. Parr está entre os seus, «fascinado pelo quotidiano vulgar».
É uma nova direcção de trabalho de Parr, com recurso sistemático ao grande plano, enquadramento directo e registo cru das cores, até ao vómito. O tema é a alimentação e em especial a «fast-food»: bolos de cores ácidas, restos de comida, uma colher no feijão, embalagens, o ovo com ketchup, e também um cachimbo pendente de um lábio, um crucifixo sobre um decote masculino, o peru meio trinchado junto ao candeeiro, duas mãos dadas, o pão de plástico, o lixo envernizado, o creme com a cereja. A presença monstruosa dos objectos, o banal invisível.
Martin Parr nasceu em 1952 em Epson, Londres, e vive em Bristol. Os Encontros de Braga mostraram «The Cost of Living», de 1989 (em 91), e «The Last Resort», os ingleses em férias, de 1986 (em 95).
Um crítico entusiasta, Michel Guerrin no «Le Monde», aponta-lhe o pessimismo de Diane Arbus, a atracção de Walker Evans pela cultura vernacular, a faculdade de fazer entrechocar os planos como Lee Friedlander, a facilidade de Garry Winogrand para apanhar as pessoas no turbilhão das ruas, a mesma vontade de Robert Frank de confrontar-se com os temas das fotografias. As melhores referências. Com mais comedimento, pode dizer-se que é o chefe de fila da actual fotografia britânica de reportagem, herdeiro de Bill Brandt e Tony Ray-Jones, contemporâneo de Chris Killip e Nick Waplington.
Diz que «o mundo dos grandes repórteres, das guerras e dos refugiados, não tem nada a ver com aquele em que vivemos»: «Mostro coisas pelas quais os fotógrafos não se interessam, porque lhes parecem evidentes. Mas não são.»
O heroísmo fotográfico não lhe interessa, porque «o mundo é ridículo». «A fotografia é um formidável medium para estabelecer a diferença entre o mito e a realidade.» Mas acrescenta: «A fotografia não é a realidade, mas sim um confronto entre o fotógrafo e os seus assuntos.»
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