Tag: pablo picasso

Postcard from Malaga, Spain: Joining the flock grazing through art at the Pompidou

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Homage to Amnesty International

“Flock of Sheep,” Francois-Xavier Lalanne, 1965/1979, and “Model to the Third International,” a reconstruction of Vladimir Tatlin’s 1919-1920 monument made by Les Ateliers Longepe (Chatillon) in 1979 

The remodeled port area in Malaga is pristine. Probably particularly appealing to the crowds regurgitated from cruise ships who feel comforted by the familiar upscale chains that populate the waterfront mall.

Until 2015.

The City Council of Malaga took an incredibly bold step to enter into a contract with the Pompidou Center in Paris to open its first branch outside of France – Centre Pompidou Malaga. I have no idea whether the investment is paying off, but it’s a beautiful facility that mounts major exhibitions further enhancing Malaga’s strong reputation as a city of internationally important museums.

Of course, Malaga had a head start. It is the birthplace of Pablo Picasso (1881-1973). And you cannot take many steps through the city without bumping into a reminder of the fact.

“Flock of Sheep,” Francois-Xavier Lalanne, 1965/1979, and “Model to the Third International,” a reconstruction of Vladimir Tatlin’s 1919-1920 monument made by Les Ateliers Longepe (Chatillon) in 1979
“The Prophet (Great Prophet),” Pablo Gargallo, 1933/1936
“N.Y.: 06:00 A.M.,” Frank Scurti, 1995-2000
“Flock of Sheep,” Francois-Xavier Lalanne, 1965/1979, and “Characters and Birds in the Night,” Joan Miro, 1974
“Marcel Says ‘Good Day’ To You,” Jean-Michel Alberola, 2002
“Spring,” Pablo Picasso, 1956
“The Old Lady of the Garden,” Frank Stella, 1986
“El Cubo,” Pompidou Centre
Henri Matisse and his model, Henriette Darricarrere, about 1927
“The Fall of Icarus,” Marc Chagall, 1974/1977
Pompidou Centre
works by Henri Matisse
“Flock of Sheep,” Francois-Xavier Lalanne, 1965/1979
“The Prophet (Great Prophet),” Pablo Gargallo, 1933/1936,
“Head of Montserrat Screaming,” Julio Gonzalez, 1942
“Everything Emanates from the Will of the People,” Jorg Immendorff, 1976
painting on the left, “The Luncheon on the Grass,” Alain Jacquet, 1964
“Group of 13 (Homage to Amnesty International),” Eva Aeppli, 1968
“Sense of Danger (The Running Man),” Kazimir Malevich, 1930-1931
“Odalisque with Red Trousers,” Henri Matisse, 1921
“Model to the Third International,” a reconstruction of Vladimir Tatlin’s 1919-1920 monument made by Les Ateliers Longepe (Chatillon) in 1979

The museum is reputed to often attract crowds packed like sardines in a tin (apologies to Frank Scurti’s sardine-tin bed above). But we totally lucked out on our timing. Could relax and graze slowly gazing at the art (apologies also to Francois-Xavier Lalanne’s “Flock of Sheep,” evidently possessing good taste).

Truly felt like visiting a miniature Parisian Pompidou. Except luxuriously private and intimate.

Postcard from Austin, Texas: Exposing an unpleasant underbelly of America

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There is Eugene Delacroix’ “The Massacre at Chios,” with its 1824 showing in the Salon de Paris igniting European concern about tragedies occurring during the Greek War of Independence.

There are Francisco Goya’s “Fatal Consequences of Spain’s Bloody War with Bonaparte, and Other Emphatic Caprices,” prints so controversial they were not published as “The Disasters of War” until 1863, 35 years after his death.

There is Pablo Picasso’s “Guernica,” his 1937 painting of the German bombing of a Basque town that attracted the world’s attention to the atrocities occurring during the Spanish Civil War.

And now there is Vincent Valdez’ haunting 2016 black-and-white monumental depiction of Ku Klux Klansmen in “The City I,” owned and currently on exhibit at the Blanton Museum of Art.

This could be any city in America. These individuals could be any Americans. There is a false sense that these threats were, or are, contained at the peripheries of society and in small rural communities. . . . It is possible that they are city politicians, police chiefs, parents, neighbors, community leaders, academics, church members, business owners, etcetera. This is the most frightening aspect of it all.

Vincent Valdez, Blanton Museum of Art website

Vincent Valdez was born and raised in San Antonio; an artist about whom we boast. Yet you want this enormous painting stretching across the gallery wall to please be a scene from any other city in America. Please not here. Not my neighbors.

The KKK and other racist groups exist throughout the country; denial does not help; you cannot simply wish them away. They might indeed be your neighbors.

The menacing eyes peering out from the holes in the white hoods glare at you, following you around the room. There is no place to hide.

We have interrupted their gathering. The group looks warily at us as we look at them; no one appears to be welcome here.

Blanton Museum of Art website

 

After viewing Valdez’ powerful punch, the antidote in the next gallery, a 2012 neon by Tavares Strachan, offers relief. “We belong here.”

As humans, we all struggle with how we fit in and belong…. Who gets to determine who belongs where? And where is here? And why does it matter?….

I wanted to make a work that everyone can own—one that everyone can have….Because as soon as you read it, you say, “We belong here,” and we do belong.

Tavares Strachan, Blanton Museum of Art website

Postcard from Madrid, Spain: Reina Sofia reigns royally over contemporary art

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One of Madrid’s most overwhelming museums, Museo Nacional Centro de Arte Reina Sofia only displays approximately 1,000 works from its collection of more than 20,000 at a time.

Opened in 1990, the museum places Spanish art from the late 19th century to today in relationship to international contemporary art. Pablo Picasso’s “Guernica” is perhaps its most famous piece, but the breadth of the collection is enormous. You can browse through some 7,000 of its works online.

And with so much to show, exhibits spill over to two venues in Retiro Park as well – The Crystal Palace and Palacio de Velazquez. Some of the photos above are of the Palacio de Velazquez, currently housing minimalist sculpture by Carl Andre.