The Centre Pompidou examines the thrilling but lesser-known story of the People’s Art School, founded in 1918 by the painter Marc Chagall in his hometown of Vitebsk.
Más allá del muralismo
El arte mexicano de la primera mitad del siglo XX es un territorio ampliamente explorado, pero su historia ha permanecido durante mucho tiempo eclipsada detrás de cuatro figuras: los tres grandes del muralismo –Diego Rivera, David Alfaro Siqueiros y José Clemente Orozco– y, desde los años ochenta, Frida Kahlo. La exposición que se abrió en octubre en el Grand Palais en París, Mexique 1900-1950: Diego Rivera, Frida Kahlo, José Clemente Orozco et les avant-gardes, parece confirmar desde el título ese predominio. Aunque por un lado no se puede contar la historia del arte moderno en México sin apelar a algunos nombres demasiado conocidos, habría sido un error reducirlo a ellos. La muestra de París es un intento tímido pero necesario para ampliar esa mirada.
The Arc of Justice: Kerry James Marshall Honors Pioneering Black Lawyers in New Monument in Des Moines
The months following the horrific events in Charlottesville have brought renewed attention to Confederate monuments, reigniting the debate surrounding symbols of racism and white supremacy in the United States. As Americans contend with the possibilities of relocating, destroying, or recontextualizing these objects, some have argued that new monuments should be built, ones that honor the achievements of black historical figures rather than their oppressors.
The Risky Business of Restoring Leonardos
After a previous Leonardo restoration project at the Louvre resulted in multiple staff resignations, the recent cleanup of “Saint John the Baptist” took place under intense scrutiny.
Apollinaire, the Immigrant Poet Who Shaped the Parisian Avant-Garde
PARIS — On September 7, 1911, French police arrested poet Guillame Apollinaire for stealing the Mona Lisa. Apollinaire hadn’t actually taken the iconic treasure; however, a few days prior to his arrest, he had attempted to anonymously return a pair of ancient Iberian busts stolen for him and Pablo Picasso by their associate, Géry Piéret. Picasso, who modeled the central figures of “Les Demoiselles d’Avignon” on the bust Piéret procured for him, was also brought in for questioning. Miraculously, neither the painter nor the poet was charged with receiving stolen goods. If they had been, their status as foreigners in the French Republic would most certainly have resulted in their deportation. Luckily, lack of evidence and pressure from the Parisian art and literary establishments forced the police to release Apollinaire six days later — thereby consigning the episode to one of the wilder footnotes of art history rather than to one of its major chapters.
A Monumental Critique of Empire, from Napoleonic to Corporate Times
PARIS — Scattered throughout the cavernous nave of the Grand Palais are mountains of shipping containers. Green, blue, and brown, corporate logos and serial numbers stamped on their sides, they reach up to the resplendent glass ceiling of the Palais, like mounds of oversized Legos.
Paris’s Art Models Protest for Job Security and Better Wages
PARIS — On Saturday afternoon, people trickled across the large plaza in front of the Hôtel de Ville. Pausing to admire city hall’s façade, some snapped pictures while others gathered around a group of break-dancers before shuffling off. Meanwhile, tucked away in a far corner of the plaza, an eclectic group was hanging painted banners that read “Modèles” (“Models”), “Modèles d’art: Poser c’est un métier!” (“Live modeling: it’s a job too!”), and the name of their organization, Collectif des Modèles d’Art de Paris (Art Models Collective of Paris).
The Story of an Installation in a Polluted River and Its Subsequent Removal
DES MOINES, Iowa — On June 27th, the third-worst flood in the history of Des Moines, Iowa’s Raccoon River, necessitated the quick and urgent rescue of “Wading Bridge,” the most recent installation by the New York-based artist Mary Mattingly. This move was the fifth of a total of nine displacements that the approximately 4,500-pound installation has endured to date. When floodwaters weren’t threatening to wash it away, it was (according to the Greater Des Moines Public Art Foundation) either the Army Corps of Engineers suddenly vetoing previously approved design proposals or the budget — insufficient to pay for a professional installation crew and equipment — that almost killed the project.