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#Centre Pompidou #Getty Museum #Harry Shunk #Jacques Villeglé #János (Jean) Kender #Jean Tinguely #Larry Rivers #Museum of Modern Art #National Gallery of Art #Robert Rauschenberg #Shunk-Kender #Tate #Taylor Mead #Vito Acconci #Yayoi KusamaMore you might like
PARIS — Where the newness of art comes from (when it comes) is something of a conundrum. The New Presentation of the Modern Collection at the Centre Pompidou Musée National d’Art Moderne (the second largest collection of modern and contemporary art in the world, after the Museum of Modern Art in New York) attempts to remedy this conundrum by pointing out and celebrating certain shrewd and ardent theorists, art critics, art historians, publishers, editors, poets, and thinkers who helped shape Modern art’s prevailing theories and tastes. As selected by Pompidou director Bernard Blistène, these influential figures of theoretical inquiry are shown putting forth key concepts that inspired and framed the artworks made between 1905 and 1965. These theorist-activators made decisive and often underappreciated contributions to the history of art in the 20th century. I have never seen such a display of recognition for the thinkers of art before — including Guillaume Apollinaire, Louis Aragon, André Breton, and Georges Bataille — and it held me in thrall.
The Pompidou’s Permanent Collection, Reinstalled Along the Lines of Art Theory
Peter Selz Interview
Brazilian art, Lygia Clark, Museum of Modern Art (via The Radical Brazilian Artist Who Abandoned Art)
As the visitor to the Museum of Modern Art walks across a swarming fifth floor this summer, she will find Lygia Clark: The Abandonment of Art, 1948–1988, the first comprehensive retrospective of the Brazilian artist’s career in America. The show is organized chronologically, starting with Clark’s early works from the 1950s and moving through her more radical experiments with participation and the sensorial awareness of spectators.
Very soon after my review of Louis Draper was published in Hyperallergic Weekend (February 7, 2016), I got an email from the Virginia Museum of Fine Arts and from the Museum of Modern Art. Pryor Green, who sent the email from Virginia, included her office phone and official email, should I wish to speak to her.
Follow-Up to My Review: Does the Museum of Modern Art Even Know About This Great Photographer?
Next Stop, Reality: A Sixties Radicalism Revisited
Jean Tinguely, “Radio No. 1″ (1960). Metal construction with motor. 29 ¾ x 26 ¼ x 13 ¼ inches.…
(via Kandinsky’s Cosmic Consciousness)
MILWAUKEE — In the foreword to the exhibition catalogue, Bernard Blistene and Alain Seban of the Centre Pompidou, Paris, glue together a new retrospective on Wassily Kandinsky with two words: “intrinsic coherence.”
(via Finding Contemporary Threads in the End of Dada)
PARIS — In our stimulating era of online publishing, it is all the more exciting to look back at paper precedents. And Man Ray, Picabia et la revue Littérature (1922-1924) at the Centre Pompidou provides just such an opportunity by focusing on the period between the end of the Dadaist movement and the advent of Surrealism.
PARIS — The art in Hervé Télémaque’s Centre Pompidou retrospective floats between Port-au-Prince, New York, and Paris. Conversely, the 74 works that span the career of this Haiti-born artist are mostly located in French public collections. Born in 1937, Télémaque left Haiti in 1957, when François Duvalier was elected to power, and headed for New York and the Arts Student’s League.
The largest public collection of modern Southeast Asian art is opening this October, and the institution that will house it just announced a collaborative exhibition with the Centre Pompidou in 2016. National Gallery Singapore (NGS) joins two historic buildings — the city-state’s former Supreme Court and City Hall — with an adaptive reuse design by studio Milou Architecture. A gold roof of 15,000 aluminum panels sweeps between the neoclassical structures, with a light-strewn courtyard constructed in the center.
Singapore’s Huge National Gallery Will Open with Pompidou and Circumstance
