Word: hulten
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Dates: during 1970-1979
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...relationships between Paris and three modernist capitals: New York (1977), Berlin (1978) and Moscow. The sheer size of the Soviet loan-some 2,000 works in all media, from paintings to agitprop posters, from architectural drawings to teacups and chess sets-put the center's director, Pontus Hulten, at a disadvantage in bargaining. The Russian side of the show is wholly chosen and catalogued by Soviet experts, whose essays (as one might expect) gloss over the brutal fate of the culture they discuss and, as art history, are not pitched at the level of scholarship a European audience feels...
Over the past few years its stolidly trendy Swedish director, Karl Pontus Hulten, has emitted much politic cant about how Le Pompidoglio would not be a museum in the traditional (read "elitist") sense, but rather a kind of cross between a people's palace and a pinball machine-a transcultural, interdisciplinary omnivorium. The real question was how the place might work as a museum. On seeing "Paris-New York," one wishes the question had not been asked. The show is a curatorial botch...
...other to claim that they have any historical weight. There is no level on which the last part of "Paris - New York" can be taken seriously. If this is how the Pompidou Center intends to treat the history of modern culture, then God help poor Clio, for Pontus Hulten will...