Word: pompidou
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Dates: during 2000-2009
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...their collections academically?by artist, chronology, genre or medium. Lately, however, some museums?especially the ones dedicated to modern art?have been challenging this classical approach. Yet none has done so with the explosive force of "Big Bang: Destruction and Creation in 20th Century Art," on view at Paris' Pompidou Center until February...
...show juxtaposes famous works with obscure ones, pairs young artists with old, mixes its media and otherwise turns the Pompidou collection on its head. Take, for example, the first room, devoted to the subtheme "disillusioned body," catalog-speak for the deconstruction of the human form. Here Willem de Kooning's grotesque 1972 sculpture The Clamdigger is accompanied by Alberto Giacometti's spare Standing Woman II (1959-60), Pablo Picasso's contorted Women Before the Sea (1956) and Francis Bacon's bizarre 1964 triptych Three Figures in a Room?all demonstrating just how discombobulated a body can be. Around the corner...
...from its freedoms, Hong Kong will never translate its cultural hopes into realities that justify bold architectural monuments. Will Hong Kong celebrate its Cantonese roots, foreign influences and its status as home for millions of Overseas Chinese? Or will it instead buy "culture" franchises?importing brands like Centre Pompidou and Guggenheim to bolster its cultural cachet...
...Arte Povera, elsewhere "junk art": turning refuse - burlap sacks, globs of tar - into popular works. For artists like Alberto Burri, who began producing Arte Povera in the '50s, such trash would eventually become treasure. Museums and galleries such as the Solomon R. Guggenheim in New York City and the Pompidou Center in Paris vied for his works for decades. In 1989, a collector shelled out $2.8 million for one of his prized Sacco (Sack) paintings called Umbria Vera. At the time of his death in 1995, Burri's most famous pieces, including the Sacks and Plastics series, could be found...
...pornography? That's a question neither Michel nor her boyfriend had the opportunity to discuss that August evening in 2002 because Michel, who suffers from brittle-bone disease and gets around in a wheelchair, was barred by a cinema employee from entering the MK2 Beaubourg theater next to the Pompidou Center. The discussion that did ensue was about access rights for people with disabilities. And Michel is taking her case all the way to the French courts by suing the MK2 movie theater chain for discrimination. According to MK2 general director Philippe Aigle, a commission set up under the auspices...