In his final decade, Pablo Picasso produced a prodigious body of work at Notre Dame de Vie, his retreat in the South of France. These dreamy portraits and drawings remain some of the artist’s most imaginative—and most often overlooked—works.
In his final decade, Pablo Picasso produced a prodigious body of work at Notre Dame de Vie, his retreat in the South of France. These dreamy portraits and drawings remain some of the artist’s most imaginative—and most often overlooked—works.
From record auction prices to the spectacle success of Cai Guo Qiang’s I Want to Believe exhibit, Asia’s visible influence in the art world is undeniable. The Guggenheim’s sprawling new show, "The Third Mind: American Artists Contemplate Asia, 1860-1989", fits peculiarly into this vein.
Not focusing on Asian art per se, the show aims to deconstruct notions of the hegemony of European influence on American art, and instead proposes a new narrative by tracing the influence of Asian visuals and philosophy. While meticulously defended in dense wall texts (which are informative, yet too much for a museum show’s purpose), the show lies on shaky ground, and will probably not alter the paradigm it aims to reshape.
From record auction prices to the spectacle success of Cai Guo Qiang’s I Want to Believe exhibit, Asia’s visible influence in the art world is undeniable. The Guggenheim’s sprawling new show, "The Third Mind: American Artists Contemplate Asia, 1860-1989", fits peculiarly into this vein.
Not focusing on Asian art per se, the show aims to deconstruct notions of the hegemony of European influence on American art, and instead proposes a new narrative by tracing the influence of Asian visuals and philosophy. While meticulously defended in dense wall texts (which are informative, yet too much for a museum show’s purpose), the show lies on shaky ground, and will probably not alter the paradigm it aims to reshape.
