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| Man With Pipe aimed to mimic the realness of photography. ((c) 2012
Estate of Pablo Picasso-Artists Rights Society (ARS), New York) |
The new exhibition called
Picasso Black and White, filling Frank Lloyd Wright’s great rotunda at the Guggenheim Museum in New York, ought to be called
Picasso in Sepia.
That’s because most of its 118 works include fawns and tans as well as
blacks and whites and grays. And because the word “sepia” gets at a
crucial force behind this art: photography. The show doesn’t just sample
random moments when Picasso went monochrome, although its ambitions can
seem that modest. The exhibition is important, maybe despite itself,
because it helps us feel the impact of the camera on Picasso’s art.
Picasso said he wasn’t interested in abstraction, or even in style: all
his art, even at its most bizarre, was supposed to carry some kind of
information or truth about our world and the things in it. That’s the
kind of access to reality that photography has always been about. By
working so often in black and white (and tan), Picasso could insist that
he also kept touch with the real.
Read on here...
http://wtr.mn/R16xqz
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