Peter Saul, an anatomist of social violence

Political art tends to oscillate between the naïve, inept illustration of worn-out slogans on the one hand, and disparaging or insulting visual comments of other people’s views. Furthermore, as many such politically minded artists tend to be in want of talent, words are often added here and there on the canvas to make the messageLire la suite « Peter Saul, an anatomist of social violence »

Francis Bacon, souffrance et apaisement

Paris, Centre Pompidou, 2019 Francis Bacon (1909 – 1992) est incontestablement un géant de la peinture du 20ème siècle. L’exposition qui lui est actuellement consacrée par le Centre Pompidou ne fait que le confirmer.  Une grande exposition s’était tenue au Grand Palais en 1971, suivie en 1996 d’une importante rétrospective au Centre Pompidou. Etait-il pertinentLire la suite « Francis Bacon, souffrance et apaisement »

Kounellis, a dramaturgy of the matter

Fondazione Prada, Venice, 2019 “I was called an artist in the Sixties because they didn’t know how to define a pile of coal. But I am a painter, and I claim my initiation in painting. Because painting is the construction of images and doesn’t refer to a manner or, even less, a technique.” (In AlessandraLire la suite « Kounellis, a dramaturgy of the matter »

Piero Manzoni : exploring the economics of artistic aura

As anyone who has an interest in post-war art will probably know, Piero Manzoni (1933 – 1963) is mostly known for one of the most provocative gestures in the history of art, the famed Merda d’Artista (1961), or “artist’s shit”.  It consists of ninety cans of – supposedly – his own faeces, tinned in smallLire la suite « Piero Manzoni : exploring the economics of artistic aura »

Arshile Gorky, a victim of art history’s categories ?

Ca’Pesaro, Venice, 2019 Ca’ Pesaro has taken the bold and useful step, on the occasion of the Venice Biennale, to organize a large retrospective – the first Italian one – of an unjustly neglected painter of the first half of the twentieth century, Arshile Gorky; the last such event is probably the Tate Modern retrospectiveLire la suite « Arshile Gorky, a victim of art history’s categories ? »