Large modern art for sale-Two years ago, at the museum of modern art in New York, leah dicolman curated a special exhibition, Big Black and White Art “inventing abstract1910-1925.
He has nothing to do with it.
He was referring to the way the exhibition invites visitors into the world of abstract art.
If the audience takes the elevator in the lobby on the first floor of the museum, when the elevator door opens, they will first see a large wall covered with a huge chart, which is a network of artists and cities.
But if you look closely, you can easily find the actual entrance to the exhibition, marked by a passage by kandinsky from 1911, in bold letters — and you’ll notice that one of the paintings that is placed at the top of the chart resembles both a sign and a sentry.HUGE ABSTRACT PAINTING WALL ART
If you are like me, you will soon give up the idea of looking at this chart carefully, Extra Large Black and White Canvas and you will rush to the picture to make sure that it is
not the one you imagined because it is not clear from a distance.
The painting we’re talking about is Picasso’s 1910 painting, the woman who played the mandolin, which is in the collection of the cologne Ludwig museum.
I wasn’t involved in dickman’s installation design process, but we talked about putting Picasso in the show — and as a result, she asked me to write something for the catalogue.
Di Coleman and I agree, the first thing is that many people in the recent activities of trace the origin of abstract paintings, don’t talk about cubism, this is wrong, especially when they don’t talk about finish line and lakshmi, given
that most of the so-called “abstract art pioneer” – the marxist-leninist veitch and mondrian and others for their own pay often outspoken (except in the abstract art “expressionist artists,” one of the most famous is the kandinsky).
I told serra about the conversation that defended the moma exhibit,Big Contemporary Canvas Art but his anger didn’t subside at all — he probably thought it was just an
“academic” conversation between historians.
So I pulled another card out of my sleeve, which was the second point that dicolman had discussed with me in curating the exhibition, and it developed from Picasso.
Both dicolman and I were surprised that Picasso, the seemingly fearless Spanish artist, had backed away from abstraction: if adventurers like him did not dare plunge into it, it would only make it more difficult for those who had plunged
In this context, kandinsky’s famous wobble between 1911 and 1912 is all the more significant.Indeed, the second view is based on “art history”, but I think it is more valuable for sierra, because it comes from the creation standpoint, that is, from the struggle of the artist, the inference also stressed the sierra: I have to
admit that abstract art was born is very difficult, in the early 20th century, creating a piece of abstract art must be a hero — especially Picasso sooner than kandinsky close to abstract painting.
Of course, serra doesn’t believe us.
In his view, showing Picasso at the entrance was a deliberate attempt to stir up water.
On the one hand, it does little to dispel the century-old misconception that Picasso was an “abstract” painter.
Abstract art, on the other hand, also seems to present a refinement or stylized treatment of reality. People often use Picasso’s many works to illustrate this point, such as his 1907 work “tree”.