Inside AGNSW's Picasso exhibition

A man known for his geometric styling, bold distortions and loud symbolism, Picasso is by no means a small deal. He is heralded as one of the greatest artists of the 20^th century. But a new exhibition opening this month at the Art Gallery of NSW (AGNSW) provides us with a more serious-minded and politically committed Picasso. It showcases his personal collections from the Musée National Picasso in Paris. Director Anne Baldassari has put the exhibition together with Sydney in mind.

Josephine Touma, AGNSW public programs coordinator, says that the exhibition will be among their biggest, and has been in negotiations for a number of years. “I think in the public imagination, Picasso is kind of out there as crux of all things creative, modernism, the 20^th century, but people don’t necessarily have a really good knowledge of the vast array of styles that he worked in - the length of his career, the richness of his output,” she says.

Dr Fay Brauer, art academic, believes that the exhibition is arriving during an intense revisionist scholarship of Picasso. She approves of the reworking of his cultural and political relevance and rejecting of many mythologies surrounding him.

Dr Brauer is an associate professor at the College of Fine Arts in Sydney. She also works at the University of London, where she studied along with the renowned Courtauld Institute of Art. Six weeks ago, she engaged in a discussion with Baldassari on the politics of exhibiting Picasso.

“I think we have to think of Picasso as an artist with endless energy and also on an internal quest to investigate at all times in all places. His radar was never turned off,” Dr Brauer says. Picasso’s nature as a prolific artist is demonstrated by the over 150 works travelling to Sydney.

Baldassari curates by considering specific cultural histories. For Australia, she was concerned with the way Picasso engaged with indigenous art. Dr Brauer also discussed her selection of artworks that focus on the hedonistic beach culture of the Cote D’Azur in France, and the way in which that relates to Sydney. Baldassari’s Paris team installs the exhibition and she examines each hanging.

Les Demoiselles D'Avignon (1907)
Picasso was thought to have drawn upon African art and rituals upon creating this work.

“I think educationally, because she’s tried to contextualise Picasso and bring out the Catalan aspects, as well as many other aspects- particularly his political ones, it will prove a highly educational exhibition,” Brauer says.

Picasso’s status as a cultural outsider separated him from Parisian bourgeois decadence. He is from Catalonia, a separate ethnic region in Spain, but travelled to Paris because it was the modernist art centre in the early 1900s. Life as a diasporic artist was hard but helped him devise a new approach to art. Dr Brauer says that the Parisians shunned Picasso at first as an artist etranger.

“Before the First World War he was also very much derided, in fact denounced, for his Cubism - and cubism was seen to be a destructive art form,” she says.

In Australia today, with multicultural policies at work, diasporic artists are valued for their work. Dr Brauer says: “I think Picasso needs to be seen in that light and seen as an inspiring figure because he took on the challenges, and he didn’t capitulate.”

The exhibition exposes the relationship between Picasso’s Catalan background and his development of Cubism through archival material. Most original documentation, including various photographs, accompanies the art. Josephine from AGNSW says that it was a challenge to find space but photographs complement the exhibition. “It’s a great opportunity to see images of that artwork evolving over time and Picasso in a more informal context,” she says.

“What’s often overlooked in Picasso is this remarkable sense of humour, and satire and parody, as well as a sense of the absurd,” Dr Brauer says.

Woman with Pears (1909)
Paintings of Picasso's lover Fernande Olivier were inspired by his strong connection to the Catalan landscape and portrayed in his representation of women.

The exhibition progresses chronologically into periods of Picasso’s career, including blue, rose and Cubist.

The show is part of the Sydney International Art Series run by Events NSW, which will showcase an international exhibition each year. “Never before in Australia have we seen this volume and quality of Picasso’s work up at the one time and the breadth of his career,” Josephine says.

Coming programs include free lectures, extended opening hours and various performances such as the major symposium.

Timed ticketing will not restrict time spent in the show, but visitors will need to pre-book at www.ticketek.com.au.

According to Dr Brauer, Picasso stands out among the artist greats. “Picasso continuously engaged in challenges. He could have taken the easy option- he never did.”

“He was constantly challenging the parameters of art, constantly expanding them, and even challenging his own practice. And I think that’s a great lesson to learn.”

Picasso: Masterpieces from the Musée National Picasso, Paris is at the Art Gallery of NSW from November 12.

Film Review - "Bill Cunningham New York" directed by Richard Press

Bill Cunningham New York (2011)            ★ ★ ★ ★ 1/2

This film deserves four stars simply for its spectacular cinematography and seamless editing. Press brings us right into the world of 82 year old renowned fashion photographer Bill Cunningham- in all aspects of his work and everyday life. We hear from prominent people in the fashion world and friends and colleagues of Cunningham. If anything, the film reminds us of the creative opportunities for fashion and photography in the 21st century.

What's interesting is how Cunningham distinguishes between interesting people and interesting outfits. He sees fashion as art arranged on the body and captures it so. His eccentricities are evident in everything from the minimalist way he lives (no kitchen, no proper bed)- to leaving conversations to photograph something outrageous. The octogenarian travels enthusiastically on his bike around New York, in rain or shine, snapping photos and dodging taxis at the same time. 

A major part of the film also focuses on his appearance at various New Yorkan social events - and it is here that we see how seriously he takes his job. Cunningham insists on not eating, and sends away even a glass of water - so that he can maintain a distance in his photography. The editing provides all sorts of perspectives- we hear from Bill alone, in front of the camera, but also get a sense of what he's like in a social sense.

This documentary rightly celebrates Cunningham's contribution to photography and the arts in New York- and instead of recounting his past achievements, it focuses on the present and his current job with the New York Times. It is really a snapshot of a day in the life of Bill and a great watch for any fan of fashion or the arts.

Visit Bill Cunningham's New York Times online page.

Bill on style: "A lot of people have taste but very few are daring to be creative."
Bill on money: "If you don't take money they can't tell you what to do...money is the cheapest thing. Freedom is the most expensive."
Bill on beauty: "He who seeks beauty...will find it."

Film Review - "Midnight in Paris" directed by Woody Allen

Midnight in Paris (2011)            ★ ★ ★ ★

A slightly more whimsical version of Allen's earlier works, this film delves into mysterious Parisian nights, eccentric artistic characters of the 20's and the contradictions of the creative mind. Woody Allen himself does not appear in the film, but we can draw similarities to the protagonist, playwright and francophile, Gil (played by Owen Wilson). Although his character seems at times naive and over-expressive, it's through his eyes that we can understand the fervour surrounding Paris as a city through the ages.

Visiting Paris with his fiancée Inez (Rachel McAdams) and her parents (Kurt Fuller and Mimi Kennedy), the wealthy American style of tourism is exemplified, with the trio preferring to dine in fancy restaurants (they seem to be constantly eating) and watch Hollywood films rather than walk around the city and take it in authentically. The satiric script is great, with the characters almost reaching heated arguments about Tea Party politics and the legitimacy of a writer's lifestyle.

The cinematography is fantastic-the opening shots depict the landmarks of Paris, although a common portrayal it seems fresh and simple. This ode to the city sets up the fim perfectly and brings us into the traditional Paris of the turn of the century which inspires and has inspired many artists. The characters of these past artists are brought to life by a great cast and I think this film carries out what it sets to achieve- an ode to a city and a celebration of creativity.

Favourite quote: “The artist's job is not to succumb to despair, but to find an antidote to the emptiness of existence.” (Gertrude Stein)

Film Review - "George Harrison: Living in the Material World" directed by Martin Scorsese

      

George Harrison: Living in the Material World (2011)            ★ ★ ★ ★ 1/2

This film is a must-see for all George Harrison and Beatles fans. I realised that it’s a better experience if you have previous knowledge of the band, as the film doesn’t really go over the main historical background. Running for over three hours, with content spanning four decades, it’s the skilful editing and soundtrack which keeps the audience entertained. Adding to the massive amount on material documenting and commenting on the band, this film displays Harrison’s legacy through not only music but his close personal relationships. Bottom line – he touched those he knew deeply.

            Commentary on the creative process in general runs throughout the film, with grabs from Harrison and his musical counterparts illustrating their outlook on life and how it affects their work. For these artists, music was more than a profit-orientated commodity. It’s interesting how Harrison said that to appreciate the non-materialistic parts of life, he had to reach an excessive level in the material world to realise it. The very title of the film draws attention to Harrison’s constant divide between the spiritual world and that of the western world’s top celebrities.

            Insight into the nature of his personal life is rewarding for the audience, who may not have heard from his brothers, son and wife before. We learn about his characteristics, including over-perfectionism, true love for friends and sacrifice. All material is highly praising of Harrison, with no mention of his womanising or the negative side to his drug use. However, it leaves the audience feeling very uplifted and inspired by the end of the session.

            With a mix of still archival photos, interviews from past and present, from friends, family and colleagues, it is truly a great opportunity to delve into the past and create a profile of the ‘mysterious’ Beatle. A large part of the film is devoted to Harrison’s search for spirituality and his principles gained from eastern religion. It makes us question our own beliefs and forces us out of an idle, desensitised state. A pleasurable experience filled with excellent music and insightful commentary – it’s a music documentary which goes one step further.

R.I.P. Barry Feinstein

Barry Feinstein, iconic music photographer, died this week at the age of 80. He is known for taking characteristic album shots of 1960s rockstars, including Bob Dylan's The Times They Are a-Changin' and later George Harrison's solo album, in the garden with his gnomes, All Things Must Pass. His editorial work extended to Hollywood actors and other celebrities of the time, usually shot in back-and-white.

Feinstein was born in 1931 in Philadelphia and started taking pictures in his teenage years. He entered the professional world as an assistant for LIFE magazine, but got his break when he became studio photographer for Columbia Pictures in Hollywood. In an attempt to uncover 'behind-the-scenes' parts of Hollywood, he strayed from the typical glamorous shots others sought to take. Feinstein will be remembered for not only his iconic shots but his spontaneous and original approach to photography.

Rolling Stone Magazine has created an online album of his most famous works.

All Things Must Pass album cover (1970)

Bob Dylan, Paris, France, 1966

Film Review - "Footloose" directed by Craig Brewer

Footloose (2011)            ★ ★ ★

I was suprised at the little amount of dancing in this year's remake of the old 80s dance classic, but the storyline was very similar. Initially I was confused at how it would still be relevant for dancing to be banned in an American town, but the first few minutes of the movie answer that- after a dance party, five teenagers die in a fatal car crash, and the town's leaders subsequently ban dancing, drinking and going out late.

The cast was credible, at least their accents didn't seem too over-the-top and the two main characters are a more tanned and toned version of the 1984 Ren and Ariel. Ren's angry solo dance was a bit of a cringe in the film, with some country fusion rap soundtrack, but showcased his gymnastic talent. Ariel was a believable character, only because we understood her motives for being so reckless, after the distressing car crash.

With a slight element of predictability in regards to the romantic element of the film, it is an otherwise entertaining look at the problems teenagers face and have always faced with parents and friends. The inclusion of some hip-hop music slightly works in updating the film for today's culture and even the line-dancing scene makes it seem a little bit exciting for the audience. Overall, its easy on the eye and might even make you think about how we judge people.

Favourite quote: I just don't know if believe in everything that you believe in. But I believe in you. (Ariel)

Film Review - "Crazy, Stupid Love." directed by Glenn Ficarra and John Requa

Crazy, Stupid, Love. (2011)            ★ ★ ★ ★

This film is part of a new kind of American romantic comedy which is wittier, less sentimental and more authentic in its realization than its predecessors. The cast fits together well, with playboy Jacob (Ryan Gosling) opposite dull dad, Cal (Steve Carell) and Emma Stone playing her usual quirky role, as Hannah, a budding lawyer. The film draws attention to conventions of modern dating and 'picking up', which allows the audience to examine each generation of love story in a different way.

The film begins in an unusual way when Cal's wife of 25 years, Emily, (Julianne Moore) proposes a surprise divorce. Setting up young, idealistic love against an established married relationship, with kids and a house involved, creates a sense of perspective. The younger actors weren't as endearing as their adult counterparts, but nevertheless gave heartfelt performances.

There are some uncomfortable moments - when we repeatedly witness 13-year-old Robbie's (Jonah Bobo) professed love for 17-yearold Jessica (Analeigh Tipton). Or when Cal attempts his first one-night-stand with an ex-alcoholic teacher, who is far too emotional around strangers. However, it sticks true to the "crazy" in the film's title. Love does appears to be crazy at times.

Ryan Gosling's performance is impressive. He manages to maintain his cool, suave persona as Jacob -the charming womanizer who understands the bar scene- while maintaining a sense of integrity and innocence. He is definitely a lovable character.

The final half-hour or so becomes overdramatic, with an attempt at a profound speech on love (by the 13-year-old!) at a school graduation, and a family backyard brawl. All the noise and outpouring of emotion becomes a bit overwhelming and breaks the previously cool atmosphere - but it’s an entertaining watch. 

Favourite quote: The war between the sexes is over. We won the second women started doing pole dancing for exercise.