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viewer1 06/08/2010 12:04 AM Report
The general idea about film's influence on the development of Cubism may be well founded, but not crucial nor central to the work of that period. It does make for yet another fascinating way to look back to early modernist painters and their world.
Where Mr. Glimcher attempts to look forward, making an argument for the importance of contemporary Chinese art today, he falls short. He compares the contemporary scene with the Cubists and Pop artists because they share an eye for popular culture; then he compares Picasso's use of Iberian sculpture -- without fully understanding its ritual context, to the Chinese artists' similar ignorance about Western art history. But Picasso was capable of drawing deep currents of form and meaning from the icons of another culture. I'm not seeing a similar quality in contemporary Chinese art. Mr. Glimcher shows his significance as a gallerist and promoter of art, not as an art historian, which he is not.
Tom Barlow
REMant 06/07/2010 01:43 PM Report
Which came first the cubism or the movies? Sounds like the movies. Are they saying that Picasso and Braque were actually trying to capture movement in cubism? That makes sense, but it doesn't make sense to say that he was trying to copy film process or frames themselves. It is rather an extension of impressionism, no? The cones and planes, etc, replace the points of light. You also have various relativisms emerging at this time and notion of different points of view. Film-makers would quickly use perspective as well and all art moved increasingly toward the abstract. However, aviation as a change of perspective neglects the fact that people had been flying in balloons for more than a century.