Thought-Pourri: Living Edition

It has been a very busy week at the Fortress of Solitude, even with the holiday thrown in on Monday that gave me a bit of time to get some much-needed matters squared away. Between work, research on upcoming travels, and keeping on top of art research and writing projects, among other things, it has not been a dull February. As the month of March nears, warmer temperatures return, and new life starts bursting forth here in the capital, there are always new things to see and think about, so here are a few for you to ponder from the world of art news.

 

Still Life

Should you happen to find yourself in Belgium or Italy in the coming months, you’ll want to check out “Spanish Still Life”, a simply-titled but object-rich exhibition of 80 works covering the development of still life painting in Spain between 1600 and the present. A joint effort by the Palais des Beaux-Arts in Brussels (BOZAR), and the Musei Reali de Torino, the comprehensive show brings together paintings belonging to a number of private and public collections in Spain and around the world, and features works by big names such as Velázquez, Picasso, Goya, and Dalí, as well as masters of the genre who are lesser-known outside of specialist circles, but whose works have been prized by collectors for centuries, including Juan Sánchez Cotán (1560-1627) and my personal favorite, Luis Meléndez (1716-1780). Among the more unusual pieces in the show is this 1937 work by Catalan Surrealist Joan Miró (1893-1983): the artist gives these everyday objects an almost metallic quality, as if they were reflected in an oil slick. “Spanish Still Life” opens at BOZAR tomorrow, and runs through May 27th, before heading to Turin for the summer.

Miro

Low Life

While as a general rule, anything that makes the oppressive government of the People’s Republic of China unhappy makes me very happy, an exception to this rule may be found when it comes to the preservation of cultural artifacts. Some of the famous terracotta warriors from the tomb of the first Emperor of China, Qin Shi Huang (259 BC-210 BC) have been on loan since Christmas to the Franklin Institute in Philadelphia, as part of an exhibition that runs through March 4th. It seems that a Millennial (natch) guest at a party held at the museum and some of his friends decided to sneak into the exhibition, which was closed during the festivities, and have a look at the objects on display. After his friends departed, this individual (allegedly) decided to throw his arm around one of the statues to take a selfie – WHICH I HAVE WARNED YOU ABOUT BEFORE – and then (allegedly) broke off the left thumb of one of the warriors, taking it home with him as a souvenir. As is to be expected, this imbecile apparently forgot that museums have security cameras. Good luck with your court case, brah.

Franklin

Lush Life

If you’ve ever dreamed of staying at the legendary Hôtel Ritz in Paris, now’s your chance to own a part of its history. From April 17-21, Artcurial in Paris will be auctioning off nearly 3,500 objects from the hotel, which recently underwent a major renovation and restoration. Items include everything from beds, bathtubs, and bar stools, to plush carpets and bronze lamps, as well as highly unusual objects such as a Louis XV style dog bed for a particularly pampered pooch. Some of the objects come from suites in the hotel that were habitually used by celebrities, including the Duke and Duchess of Windsor, Marcel Proust and Coco Chanel. No word on whether they will playing “Fascination” – the recurring theme music in “Love In The Afternoon”, the classic 1957 Billy Wilder film starring Audrey Hepburn, Gary Cooper, and Maurice Chevalier which was shot at and centers around The Ritz – on an endless loop during the sale.

Audrey

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Thought-Pourri: Artists In Action Edition

With apologies for no post on Mardi Gras – the day itself was rather fat with things that needed my attention – we return today with a curated selection of stories from the art world, since you don’t have to fast or abstain today.

Damien Hirst: Creating Canvases

While I derided him and his work for a long time, unlike a number of others who shall not be named from the Saatchi stable of regrettable British art, I find that Damien Hirst is becoming more interesting as he ages. Perhaps best known for putting dead animals in display cases filled with formaldehyde, in more recent years Hirst has been moving in interesting directions, even as the art press seems to like the results less and less. As famous these days for his bombastic personal statements as for his art, Hirst seems to be developing a new outlook on life, whether due to his becoming a father, or accepting middle age, or simply realizing that the legacy of his art matters; many observers have commented that even his Instagram account has become, dare one say it, more introspective.

I began rethinking my views on Hirst’s work back in 2013 with his monumental – and stunningly pro-life – sculpture installation “The Miraculous Journey”, a series of 14 monumental bronzes of a human baby at all stages of development in the womb, created for the grounds of a hospital in Doha. Then there was his fascinating but critically-panned “The Wreck of the Unbelievable” at last year’s Venice Biennale, centered around an entirely made-up story of finds from a shipwreck, which supposedly contained works of art from all over the ancient world. His latest exhibition, “The Veil Paintings”, which opens at the Gagosian Gallery in Los Angeles on March 1st, features large, beautifully colored canvases inspired in part by the Pointillist period of Post-Impressionism, and also by the later Abstract Expressionist movement, albeit in a more cheerful, sunny way than the latter. Hirst being Hirst, he still creates works in the kind of bad taste that made him infamous, but alongside these more pedestrian pieces there seems to be a new seriousness in his work which, quite frankly, would serve his legacy far better.

Hirst

Antonio Banderas: Playing Picasso

Being perhaps the second most famous person to hail from the Spanish city of Málaga, it was probably inevitable that, at some point in his life, actor Antonio Banderas would be asked to play that city’s most famous native son, artist Pablo Picasso. Now, Banderas will be portraying his fellow Andalusian in not one, but two upcoming productions. For American audiences, Banderas will be seen as the older Picasso in season 2 of Director Ron Howard’s “Genius” on the National Geographic Channel, which begins airing on April 24th; you can check out the trailer here. International audiences will be awaiting the long-delayed “Picasso y Guernica” by Spain’s greatest living film director, Carlos Saura, which focuses on the creation of the most famous painting of the 20th century, and the rocky relationship between the artist and his then-muse, Dora Maar, who photographed Picasso’s work on the monumental canvas as it developed. No confirmation yet on who will be playing Maar, or Marie-Thérèse Walter, who was Picasso’s mistress at the time he began work on Guernica (and whom he left for Maar), but current rumors are that Marion Cotillard will be playing the former and Gwyneth Paltrow will be playing the latter. (Readers may not be aware that Paltrow is not only fluent in proper Castilian Spanish, but owns a home there; in fact, a colleague of mine ran into her on a plane to Barcelona not too long ago.)

Banderas

Leonardo Da Vinci: Discovering Drawings

With the buildup to the 500th anniversary of Leonardo’s death next year, you’ll be seeing all kinds of exhibitions related to the Florentine artist opening around the globe; the latest to be announced is “Leonardo Da Vinci: A Life in Drawing”, featuring works from the British Royal Collection. What is particularly interesting, from a technology perspective, is that in preparation for the show, a number of these drawings have been examined using methods such as infared light and high-energy x-rays to reveal previously unseen sketches from the master. The studies of hands shown below, for example, were photographed under ultraviolet light, to reveal drawings that can no longer be seen with the naked eye, because of the fading of the materials with which they were created. Much as I don’t personally care for Leonardo’s work, his hands really are a thing of beauty, and perhaps no artist other than Raphael ever paid such close attention to the careful study of the possibilities afforded for gestures in the human hand.

Manos

Visual Vertigo: New Art Installation To Explore Classic Hitchcock

Last evening I was supposed to join a group of friends in seeing Alfred Hitchcock’s “North By Northwest” (1959) on the big screen for the first time. I’ve seen the film many times on the small screen, most recently a few months ago, but any time you can see a classic movie the way it was meant to be seen, you should absolutely take advantage of the opportunity. It completely changes your perspective on the art and the acting involved in the creation of something that is of lasting value and cultural importance as many of the great movies created before everything in society went to pot – literally – in the ‘60’s.

Unfortunately, not anticipating that I would need to pre-book tickets, two of us were not able to get in to see the screening, which was sold out. That’s an encouraging bit of news, I suppose, especially on a Wednesday night. Hopefully it’s a sign to more theatres that people *want* to see films from the studio era on the big screen.

As it happens, the first “old” movie that I ever saw on the big screen was Hitchcock’s “Vertigo” (1958), following its restoration some years ago when it was redistributed to theatres. It was a mind-blowing experience since, although it’s not one of my favorites, the importance of the use of color in the film became far more apparent after seeing it as it was intended to be seen, where the poison apple greens and blood reds that mark certain scenes reflect off of and almost envelop the audience at different points during the screening. There are also elements to “Vertigo” which have become cultural touchstones: think of the “Simpsons” episode “Principal Charming”, for example, and the incongruous Spanish mission bell tower attached to Springfield Elementary School:

skinner1skinner2

If you know the film, you know that the Legion of Honor in San Francisco is a critical location, and a painting of a woman named Carlotta Valdes that Hitchcock had placed there, are important elements of the film. The portrait is something of a McGuffin, since once we uncover the mystery of what it is, it sort of falls out of the picture. But Hitchcock’s fetish-like attention to Kim Novak’s coiffure, suit, and a bouquet of flowers that she carries in imitation of that which appears in the painting, are things which come to have repercussions for both Leigh and Jimmy Stewart.

Vert

So it’s interesting to note that American Contemporary Artist Lynn Hershman Leeson will be exploring some aspects of the film in a mixed media installation including film, in her new multi-site installation “VertiGhost”, which opens in San Francisco on December 16th. Some of the works in this installation will be shown at the Legion of Honor itself, and I particularly like Ms. Hershman Leeson’s use of the Droste effect in this piece:

imag

As ArtNews reported yesterday, the installation will feature references to the aforementioned McGuffin painting in the movie, along with considerations of some of the themes in both the film and in art. What do we mean when we say someone is being “haunted”? Why do we consider one thing “authentic”, and another thing, “fake”? What can psychiatry tell us about Hitchcock and the characters in this film?

I don’t plan to be in San Francisco any time soon, but if any of my readers happen to see the installation, I’d be curious to know what you think of it.