Art Reviews: Montreal, New York, Your Town.

Ok....

I promissed myself to review at least the important shows
that I saw since March 2003 (when I started this journal).
(Oh...and by the way, John Veltri at CCA had been extended
and that is how I could review it, in case you got their calendar).

Looks like it`s more than I can handle, but I think
I cannot pass over the exhibit "Global Village: 60`s Revisited"
at Montreal Museum Of Fine Art, even though it`s already
gone since the 7th of March. They are chances it`s getting
played elsewhere but couldn`t find any mention on their site
www.mbam.qc.ca. At any rates, when possible I`ll try to make this review somewhat of a "virtual version" of what I saw.

The exhibition attempted (and succeeded) at demonstrating how
the major frames of thought of today actually expand from the 60`s, a decade when a lot of social shifts occured on many levels, and on a
worldwide scale (political, philosophical, artistic, etc...). In art,
all the things that were left to be invented were born in the 60`s,
wrether it`s performance art, minimal art, installation art, media art,
pop-artifacts related art,etc...In fact we could argue to anyone
that believe invented anything circa 1970, that some unknown
geek must have certainly thought about it in the 60`s.

The premiss of the exhibition was Marshall McLuhan`s theory of the "global village", proclaiming that since the invention of satellitte and world tv, we entered a new era when everyone started being aware and feeling concerned about what was going in other parts of the world. Most social, artistic, or philosophical movements born during that era were spread worldwide (hippies, fluxus, student reforms, etc..). The 60`s were a decade of excesses (many reproach the baby-boomers to have wasted ressources fancifully), but also of emancipation, people liberating their minds on many aspects (mainly, sexual) and experimenting life on every level.


The show started with a replica of the Sputnick Satellite, a video of launch of Apollo 11, that was a major tv event at the time (first men to leave for the moon), and a blue pigment earth by Yves Klein, and then went on to develop its theme in 4 categories that willingly resumed what the 60`s were all about.

SPACE:

This is the first point that I`m not agreeing upon: that the 60`s developed a "space-mania" that influenced the worlds of architecture, design and art. Truth is the "space-age" era started well-early in the 50`s, if not prior, and already tons of experiments had been taking place in the fields of architecture and design. Though it wasn`t yet under the ideals of "safe-cities", and "worldwide aimed", or anything esoteric, they existed as culturally framed cold-war oddities, mainly from Russia and America. What the 60`s did to space-age is explore the materials and models that better conveyed these pseudo-futuristic ideals and configure them with present values of contemporary life. For example, the geodesic globes of Buckminster Fueller had a lot to do with concerns about ecology. But "terraforma" theories and imagination about life on extra-terrestrial grounds made architects develop all sort of dynamic ideas (and using a variety of unusual material, like plastic, the new "polyurethane", etc..), that culminated in the classic and reputated "Expo 67" of Montreal, one of the most ambitious Universal Exhibition ever, with its eccentric pavilions and adapted monorail that crossed between them. One of the major piece of the exhibition was Verner Panton`s Phantasy Landscape(1970), some sort of extravagant living room made of layers of colored polyurethane foam in curved contours on which you originally could sit and chill. This piece is as much linked with psychedelism than with space, but on that level it affirms the formal burst, or a crystallization of what the 60`s brought to utopias that had been in the air since the 50`s (fact really demonstrated by the 6 magnifiscent geometric Coupe Savoy Plates shown here that are from 1953).

But one has to agree that "cosmonaut life" really seem to have made an impression with all those JVC "Videosphere Television" Videosphere Television" (1970), Helen Von Boch`s "Avant-Garde sphere Dish Set"(1969), D`Urbino "Blow Armchair"(1967) and "Apollo 861 Record Player" (1966). The children "Sky Rail" toys accentuate the dynamics of an imaginary life on the moon as much as the 1966 Kodak Pavilion,with its lunar soil made for visitors to take photographs. Obviously, all those vestiges work to prove me wrong, when all I`m trying to say is that if indeed "cosmonaut" or "extraterrestrial living" were indeed great themes of the 60`s, they were an evolution of something that already started a decade before. For example, they were many sci-fi films in the 50`s, but the 60`s levelled the genre by bringing the downward intellectualism of "Alphaville" by Jean-Luc Godard or "2001 Space Odyssee"by Stanley Kubrick. The minimalist work of Donald Judd (fantastic "untitled" piece from 1968 consisting of 10 aluminium modules that seem to be entwined with the walls, each surface purveyed with green filter glass, lifting up a sentiment of purity and ethereal (oops: the work seen here from same period is actually an uglier yellow and only 8 stairs)) and Sol LeWitt ("Open Modular Cube", a cube containing 216 small "air" cubes in its squeletton), could as well be linked to fonctionalist architecture than with anything having to do with the cosmos, and their form spouse the era`s interest with simple forms basically because the 60`s were a lot about bringing dead ends to both formal and theoretical aesthetics researches within the arts. This is the era of structuralism: nothing makes sense anymore, we destroy signs and codes. Modernist avant-garde is mocked and deconstructed as we shift into "post-modernism", for lack of a better term describing the tumbling of something that got very high but is now spreading horizontally. Conceptually, Piero Manzoni`s "Socle Du Monde" (Base Of The World, 1961), reaches high point in ready-made (suddenly in the 60`s everyone discovered they were fans of Marcel Duchamps), because it declares the world as a work of art to better remind us (through an hommage at Galileo) that the world, wrether "art" or not, is indeed one precarious little ball (now forever standing on this bronze base in Denmark, that has to be looked upside down). One of the standout of a show aptly titled "Global Village".

Other mentions of the Space section: Nam June Paik`s "Electronic Moon" which is a cheesy early romanced video art piece, Bridget Riley`s "Untitled (Warm And Cold Curves)" (1966-69) because it`s a nice representation of yet another great 60`s art
agenda: op art, easily linkable with the television technology now able to distort and synthetize images. Than we get the "Saut Dans Le Vide" poster of Yves Klein (1968)
which manifesto (something about appropriating the air) bored me (I`m also too used of special effects to react to the photo that seems to date from the surrealists era).
Fortunately Klein had been working on much better treatments of his cheered theme of "void". James Rosenquist is also forgiven for his rather simplistic "Noon" (1962) (clouds incorporating a flashlight spot at its center), which almost look like he turned a painting into a deadpan ready-made when his other work is so impressive (he`s my favorite pop artists). Amongst the many I am not listing there was an ackward plastic tower made of toys by Martial Raysse, one of the rare artists here I had never heard from. Some french Arte Povera ?



MEDIA:

Again, Tv, the major focus of this section, existed since the 50`s, but here we consider that it got its mass appeal and distribution mainly in the 60`s, when it enhanced people to develop a sense of the massive cultivation of pop icons, which resulted in them being recycled through Pop Art, the most popular art manifestation of the 60`s (and even though it didn`t quite last as a movement, everyday objects and images continue to be the main material and focus of zillion artists).

Sadly missing some good Rosenquist panels, the Pop movement is still well represented with the famous Brillo Boxes (1969, not the same group and amount shown here) by Andy Warhol (these seemingly boring 18 painted boxes do 3 important things: they philosophically examin the point de vigueur about hyper-reality, as much as they demonstrate how design can be shifted into art and how the link between both is blurring, while also warning us about consumer culture, including within the art market), who`s also showing "Jackie" (1963, three portraitsof her shifting moods from soon after J.F. Kennedy assassination, made using silkscreen methods). There`s a funny piece by Arman "Poubelle De Warhol"(1969) which ironizes pop art by encasting in glass and wax some consumer products garbage, but they could have reserved this for the ending section of the exhibit (ecology). Also, Roy Lichtenstein`s much better "Vicki" (1969), typical of his comic close-up style, using the surface of popular comic design to convey psychological tension. Claes Oldenburg`s "Pepsi-Cola Sign" (1961), consist of the powerful image of replicating a giant pepsi bottle capsule or sheet took from garbage, which succeeds at making a big blunt accusation, or the other "Esso Lsd" (1967), a double sign by Oyvind Fahlstrom, which hints at the effects of artificial drugs (a "greater 60`s" invention), but compares it to a nocive substance, unless it means that petrol helps you to roll on (something ambiguous about embracing or rejecting psychedelia). A fine piece, unfortunately not as famous as the "Love"sign (1966) by Robert Indiana, which link on its own the 4 categories of the exhibit (minimalism (space), a word (public message media), a concern (peace in a time of wars), and pure fun (color, psychedelism, summer of love). There`s nothing to critique about such piece, it`s pure and godly as minimal art but uses the word love to make you ponder about what it means to you: just go buy your own tiny replica.
(oh...and that bent "o"...it refers to the infinity symbol....I always feel like I need to explain it, at any rates I luv it, there`s a huge version in New York). Finally, there`s the print by Gerald Laing of "Brigitte Bardot"(1963) whose face is encircled as though it was the enlargment of her face spotted amongst many in a mundane press photograph. Very well expresses the oddity of a mass being fascinated by someone`s persona, the circle serving as some sort of overimposed "aura".

They are a few early video art pieces here, thank god, from two Fluxus artists (which I thought were very badly represented, the importance they had on conceptual and performance art at least, their name is barely mentioned).
I`m really impressed by Yoko Ono`s "Sky TV" (1966), a "zen vs the media" piece
typical of Fluxus, in which the sky above the museum is replicated in real time through a monitor. Yoko Ono is one of those artist that you have a hard time spotting what she actually does (think "white", "sky", "peace", "imagination", "getting lost to better find oneself"..and you got it), but always finds her way with interesting ideas. And she had them so early on, they confirm that she was one of the four most important fluxus members. At any rates, this amazing ready-made, one of the best imaginable (...the "sky", the "sky", not the tv, puhlleasee), is put next to a very dying and unrepresentative piece by collegue Nam June Paik (a technical expression of the yang of a tv that`s ying, totally dating), while in the middle there`s a cool retro op-cathodic painting by Victo Vasarely ("Vegga-Nor", 1969), totally representative of the era`s flamboyant use of colors and optical effects. The next tv related works are photographs, such as Lee Friedlandler`s enigmatic "Florida" (1963) (is that Bjork on the tv making an intemporal apparition?), in which television is perceived as an ackward incomer, or the Dennis Hopper massmedia shots of "Kennedy Funeral" (1963), that documents a mass conscious wittingly, or even the Bert Stern cute fashion photograph of famous "Twiggy" model (1960) sitting on a tv broadcast of herself.

Speaking of fashion, Barbie (Mattel) is genuinely represented here with various kitsch versions of her friends and dresses, an important addition regarding the women issues that unfolded around her in the 60`s. The "Pillola Table Lamps" (1968) by Casati And Ponzio, taking shapes of contraceptive pills, a 60`s novelty paralleling sexual liberation, stand not too far from there, amongst other objects as colorful and casual that you coud imagine Barbie use very well: the Ettore Sottsass "Valentine Typewriter" (1969), a landmark for youth secretaries and the ancestor
of laptop computer, or Dreyfuss`s "Swinging Polaroid" (1968), launching a new era of instantaneous photography and homemade sex photos. Media by then had become something of the ordinary life.


Other mentions: Well, for the amount of photographs and projects shown from Christo in this exhibit, it`s good that they included one true sculpture, some "Wrapped Magazines On A Stool" (1966-67), which I happily touched cos
I had never touched Christo`s wrapping yet in my life (the knots are kinda sexy).
The "Artifact Relationship" (1961-62) by Charles Gagnon is there for no apparent reason but we like it much when it plays "the little melody" (3 tinker apparels in one). The Malick Sidibé photos at Salif Keita are not much further a good attempt from the curators at promulguing that the phenomenon of pop icons was worldwide. Did I mentioned that bulbous "mamma" chair called "Up" by Gaetano Pesce ? Totally pop! They just remade copies of those. There`s a ball and chain to remind you to always "get up" and not let yourself emprisoned within the mamma. By the end of this media section I realized that though the show was satisfying enough, they didn`t include a lot of "everyday objects" (I mean... getting away from the "grand" designers). They did hold a small glass including some paraphernalias (Ian fleming`s James Bond books, tv mags, a copy of Spiderman, the Expo 67 card, all shown near monitors showing images of Marylin Monroe or The Prisoner tv show), but it wasn`t fulfilling. I`m told that a show is coming up at McCord where they will focus more on these everyday items. Last question: Why wasn`t Richard Lindner "Rock-Rock" (1960-67) put in the "Change" section (it`s obviously not much but a psychedelic painting of a guitarist) ?


DISORDER:

This section is divised in two parts: first it covers the politic tensions and dramas of the era, and how artists responded to them, and secondly how the personal politics on gender and sexual liberation affected the themes of others (but often same) artists. Right before the entrance, there was a photo of Christo`s "Iron Curtain-Wall Of Oil Barrels, Rue Visconti, Paris, 1962", which was an activist protest against the Berlin Wall, which unfortunately didn`t help much since the Wall ended up lasting over 20 years. Still a fine, colerous, "inflammatory" attempt (don`t light at match there, honey), but I`m curious to know why the curator included it as transitory with the Media section. The real opener was Dan Flavin`s signature (recognizeable from far) of minimalist neons called "Monument 4 For Those Who Have Been Killed In Ambush
(To P. K. Who Remided Me About Death)" (1966), which apparently represents a canon though I first saw some kind of structure to hang people, and the evident pain and rage that comes with the use of red light (you may as well think it`s sex, but that`s gonna have to be sado-masochistic). Red is a color that will often come back during this section (there`s even the red little book of Mao Tse Young "Citations" from 1966, now you get my point), but the most impressive of those works would have to be the three flags "France", "Japon", and "United States" from 1968 by Gérard Fromanger, which had all their reds bursted like coagulating blood (remember we are in 68 Paris). Overtly sensationalistic but a good punch nonetheless (some of them are shown on a nearby monitor as performance work). Obviously, many works accentuated on the topic of war, the most biting being the unspecific Nancy Spero`s very poetic and feminine "I Laid My Stuff All Over It" (1968) which, beside sexual connotations, accuses the egocentrism in any war
through a simple pink drawing of stars falling on dead bodies, with the handwritten phrase attached somewhere in the midddle. "Andy Warhol, Artist, 8-20-69" (1969) by Richard Avedon shows the damaged body of Andy, years after the Valerie Solanas shoot, as monumental to every war victims (yep, there is a context here: Vietnam). What a stand-out! Also of note is the "Kennedy-Khrushchev" (1962) mixte-media wall-sculpture by Niki De Saint-Phalle which is an absolutely grotesque siamese monster connecting the two presidents (turned pink and grey) within their war toys. Not something you`ll want hanging on your wall ! (and it provokes opinions to know that Niki shot the damn thing as some sort of exorcist ritual, and now what you don`t see is that it`s full of gun balls within.) The Martha Rosler magazine collages ("Balloons" (1967) for example, showing vietnam victims in a luxury american apartment), really looked like they influenced Dominique Blain who is presently showing in Montreal. On the pure design aspect, the melted polyutherane-foam of Gunnar Anderson`s "Portrait Of My Mother`s Chesterfield Armchair" (1964-65) was quite revulsive as what any of the other works were attempting to provoke. A fine addition, moving along a trend of anti-design parrallelling the rapid spread of conceptual art.

The "identity" portion of this section dealt with much of the social rights issues that
were brought up in the 60`s (racism, feminism, gay liberations, sex, etc..). Racism is the subject of one of the greatest work in the show: the Faith Ringgold "Flag For The Moon: Die Nigger"(1967-69) that portrays an american flag made of the letters "die nigger", which is hitting quite hard at exposing the hypocrisy behind the government attitude of the era toward racism, made mornings after the cosmonauts on the moon planted that ridiculous american flag. Not a comforting piece, and it feels weird to see it nowaday, like rehashing some old dirt. The Andy Warhol "Race Riot" (1963) perhaps more aptly pays hommage to african-american fights during that era (it`s an image painted from a journal news), while Norman Rockwell did a technically beautiful, quasi-religious "Murder In Mississippi" (1965) that seems quite intemporal and not related to its era at all, but recounts an history of american racist murders. On the sexual politics aspect, we get, at last, one good representation of performance art through the document "Meat Joy" (1964) by Carolee Scheeman, which certainly must have shocked many people since it`s literally an "orgy" made with men and women bathing with raw chicken, chocolate syrup, feathers, and all sorts of bizarre materials, connotating sexual liberation. This allegory and celebration of sexuality also seemed to parody the pornography that was getting huge development at the time. We like sex but just so in what are we getting dipped in... Nancy Spero`s both "Female Bomb" and "Male Bomb" (1966) represent an agressive sexuality and genuinely express the fatality of a war of sexes (the male ejaculates sperms that look like bombs or biologic monsters spitting bloods). On another side, Les Krim presents an array of nude shots from 1969, examining this new phenomenon the same way Diane Arbus did, who is also represented here with "A Naked Man being A Woman, N. Y. C., 1968", but then we already reach another topic about queer identity, which is magnificently adressed with the David Hockney courageous (for its time) "We Two boys Together Clinging" (1961), a very expressive painting showing two "boys" (just chunks of pink squares) kissing each others, with very liberating graffiti mentions. It`s funny to think how a similar work would seem redundant nowaday, or a mere expression of one`s personal feeling of love, when at the time it meant such political impact. Than we end here with a few general "existentialist" work, such as Ben`s "Mon Envie D`Etre Le Seul" (1967), which by writting in red the phrase "my envy of being only" on a black canvas, originally accuses the avant-garde and deconstructs the ethic of making art, evoking an artworld that is but onlya war of the egos (also at the time linking with the egocentrism of actual happening wars). Then "Authorization", the theoretical work of Michael Snow (1969), one of the best essay on self-portrait ever made (and tricky, you need to scrutinize the process, which mirrors itself to reflect the limits of documentation against authorship). But the cherry top I reserve is for Chuck Close`s extremely realistic painting "Nancy" (1968), because Chuck, from who I`ve just seen a neat retrospective of prints at the Metropolitan, has based a majority of his works on representing his close friends, often in gigantic formats, in a manner to battle against the impossibility of an artist to communicate the identity of another. This work demonstrated that works about "identity" (yawn...) and "memory" (yawn...), which had become cliché art themes since the 60`s, didn`t have to be about the self.


CHANGE:

The final section of the exhibit deals with the general positivism of the 60`s generation who either truly believed that we were going toward a better world, or have developed the means to simply escape and forget about the world`s problem. It was divised in two parts, but both can be linked with the hippie movement: psychedelism, and ecology. Psychedelism isn`t well adressed, I thought. Apart from the "Donovan`s Guitar" (late 1960), which is fantastically designed by collegue Patrick John Byrne (a brittish eccentric sitting or standing amongst animals in a garden), we merely get a bunch of record covers (Jimmy Hendrix, The Beatles, Pink Floyd, you name them, all the long haired bands of that era, and those Woodstock albums too), and baba-cool retro posters of concerts such as Monterey Pop, including one cool "op art" design for TEXT"Jimmy Hendrix Experience" made by some Gary Grimshaw (Hendrix is shown nearby playing the Star Spangled Banner at Monterey). The best part here are the colorful prints by Richard Avedon of each Beatles members (1967) which are considered classic (they each symbolize each singer`s personality traits, making full use of recently advanced technologies in solarization, an effect that was going to be over-used by the psychedelic artists and designers). The "ecology" room is one of the best of the show, not so much for the quality of the works but the way they all breathe into space. They were some ridiculous pieces like the Tesumi Kudo (another Fluxus) garden called "Pollution - Cultivation - New Ecology"(1971, contaning plastic mutant flowers and mushrooms looking like penises, proposing selon the artist the "consequences of pollution on sexual impotency"), but from what I enjoyed, the Stand-Out work was really the "Condensation Cube" (1963-65) by Hans Haacke, which wink an eye to the minimalist movement while adressing environmental issues (water bubbles evaporate within a cube made of glass, a neat attempt to frame a whole natural process). Some other major works were documents of "land art" projects, a movement we generally associate with the 70`s, but..giving a stretch: "Spiral Jetty" (1970) by Robert Smithson, a "landmark" piece if there ever was one, a path of salt and rocks that still functions in the Salt Lake at its original spot, formulating the sign of an universal law within the nature that nurtures it, or Christo`s "Packed Coast (One Million Square Feet), Little Bay, N. S. W., Australia" (1968-69) that was one hell of a crazy project of packing an entire sea coast for a couple weeks with erosion sheets. "Why have they done it?", asked me a nearby visitor, and at this point I realized the major flaw of the show: 90 per cent of the works are "not explained" ! The problem occurs when a good portion of them are "conceptual" works (a major shift in art since the 60`s), and therefore are hard to understand without being put into context. I thought Christo`s concerns about underlining the beauty and fragility of nature were self-evident, but I can understand people questioning the Joseph Beuys`s "Sledge" (1969), perhaps a residue from performance, using the usual elements that the Tartar peasants used when they saved him from a plane crash during the war, and enveloped him with animal fat and grey felt to then brought him on a sledge in the middle of night. Beuys devoted his work to these fellows, that sledge is a "war survival kit". Evident, hey? Even the Joseph Kosuth`s "Titled (Art As Idea As Idea) (Meaning)" (1967), which depicts the definition of the word meaning, would have been judiciously put in context with a little writtings by Lacan, Foucault, Baudrillard, Derrida, and other structuralist thinkers of the era. Kosuth had the brilliant idea of focussing on demonstrating the process of interpretating art instead of just throwing ready-mades like the Fluxus gang were doing. This is one of his important works, kinda like an universalist`s cul-de-sac: it will be mostly entertaining to intellectuals. Bruce Nauman kinda succeeds at humoring the theoretical pretense of his peers by making a huge pop neon spiral (following the chaos theory of the "gold number") that he signed with "The True Artist HelpsThe World By Revealing Mystic Truths" (1967). Now, that made me laugh. Total 60`s right there: are we going esoteric, or pop ? Scientific, or fun ?
Some other artists chose quite direct ways of expressing their thoughts about urgent world situations: Giuseppe Penone "8-Meter tree" (1969) is a long wood carve of half a pine, sort of a totem dedicated to the precarity of trees, or the nature inherent in each finish product (here the young tree evolves from a larger, raw trunk). Alighiero Boetti made a powerful world "Map" (1971) which is some sort of wall tapestry showing the flags of each country within their territories, alerting about overpopulation, and demonstrating the absurdity in political frontiers, and how some of us have much more space to breathe than others. Quite a shocking piece, using a similar effect that Dominique Blain, also showing in Montreal during that time, would use much later (the political "Rug"). Claudio Parmiggiano preferred to use cow skin to cover is "Pellemundo" to provoke a similar idea that we live in one only world that is "life", a work totally demonstrative of the Arte Povera movement which was well represented during the show (Pistoletto, Boetti, Paolini, etc...).

The show ends with a luxurious handpainted psychedelic "Porsche Gmbh" (1968) belonging to Janis Joplin, and painted by Dave Richards, which was invited to experiment freely as long as he included the artist`s astrological sign (capricorn, hidden in the sun at the back), and for some reason the painter added, amongst varied colorful motifs (butterfly, etc..), the motif of the Sputnick that was first seen at opening of the exhibit. Psychedelism ressembles to me as such a vernacular or "counter-cultural" exploration of surrealism. Dreamscapes consisting of curves, candy colored people, animals and objects, cosmos, and all sorts of esoteric paradises were current themes. I wish the show had exhibited some of the drugs that paralleled the movement. People will assume all these hallucinations came by themselves, when both the surrealist and psychedelist movements owe a lot to the various drugs
experimented by these artists (both the highs and the downsides). Kubrick hits the final nail in the show with the last chapter of 2001 Space Odyssee, "Jupiter And Beyond The Infinite", an hallucinatory scene that surely must have made all people`s
eyesbrows gone awed when it first came out, and thus became the cinema achievment that has been rarely surpassed since, if ever.


Global Village was a "good" show about a very important era that
included landmark works of art that no one expected to see
by Manzoni, Yoko Ono, Sol Lewitt, Verner Panton, Chuck Close, Hans Haacke, Claes Oldenburg, etc..). My final reproach to the show is the way it was spread out. Maybe I`m being too didactic (as always), butI would have preferred if the show had been layed out following the great movements of thoughts and writers fromthe era.

Here:

Global Village and Mass Media: Mcluhan, beyond "space-age" architecture , pop art, video art, mass produced objects and their effects on the conscious, identity, etc...

Structuralism: Lacan, Derrida, etc...minimalism, conceptualism, the end of theory and exploration of new forms (performance, installation, etc...).The killing of art.

Liberalism (both politics and sex): which are the same selon Foucault, and here, activist art (the coca-cola bottles of Cildo Mereleis), war-related art, identity again, Arte Povera, anything underlining the vague definition of post-modernism.

Peace And Love: Allen ginsberg, the hippie movement, all the psychedelic works, the naiveté, the drugs, the esoterism, the nudists, ecology, "Land Art", etc....

Hyper-Realism: notes on Baudrillard notions, the blur between design and art (pop art), the concerns about reality, "The Prisoner", Hyper-Realist painting, media art, the impression that all is lie, etc..


Hmmm...yeah it`s a draft but I guess that pretty much covers it.
That is the way I would have done it, still mixing every forms, origins and intentions of objects.


Nonetheless it was cheer fun,


Cedric


PS: They were above 250 works included, so I`m sure I`ve just described a third and less of it, but certainly all the good stuff (unless you really insist that I should have mentioned the Che Guevarra photo),
but I`m also writting a "virtual exhibit" with french descriptions of the works as some sort of basic educational ground for some people I chat with.

It`s really about writting a little explanatory board near each piece,
but it`s just a first draft that needs tons of rewritting and corrections.

I might be doing something wrong. I`m more of the "comprehensive" type, I guess, but it will be published in about a month
at revuedart.blogspot.com , the french version of here.

Expect full personal explanations of each art movements and on any works you really didn`t get. The 60`s deserves this, nothing ever changed since then.