Visual arts | Picasso drifts

On the occasion of the 50^e anniversary of the death of Pablo Picasso, the Brooklyn Museum is inaugurating an ultracritical exhibition in collaboration with the Australian comedian Hannah Gadsby. Interview with the two curators ofIt’s Pablo-matic: Picasso According to Hannah Gadsbywhich revisits the painter’s work by highlighting the work of female artists.

What was the genesis of the exhibition?

Lisa Small: Shortly after the launch of Nanettethe Hannah Gadsby show, we had the chance to see it at the museum. We realized that we shared with her an interest in how to deal with the overlooked and problematic biographies of many creative “heroes”. Then the Picasso Museum invited us to take part in the 50^e anniversary.

How were the feminist artists whose works respond to those of Picasso chosen?

Catherine Morris: We thought about works in our collection that actively reassess the modernist canon. Many of the feminist works in the expo are by artists who have a deep interest in European modernism while using their vision and their lives to enrich it.

How can we reconcile the criticism of Picasso and the enduring enthusiasm for his works on the art market?

Catherine Morris: Reconciliation may not be necessary. Picasso elicits strong feelings about his art, his life, and the markets that have been built on his work and his reputation. One of our aims is to demonstrate the impact of feminism on our current assessment of the artist and to show that this revision has taken place since her death in 1973.

Should we consider the values ​​of past societies when assessing an artist’s current cultural significance?

Catherine Morris: In art history, it has long been difficult to debate the relevance of historical figures to contemporary debates while placing them in their historical context. This historical context implies values ​​that may seem dated, sometimes even morally questionable. I think we can present these facts without being neutral in our evaluations.

You refer to early critiques of Picasso by white feminists, modified more recently by ethnic minority women and queer critics.

Catherine Morris: Revisionist criticism in the 1970s and 1980s was generally by white women. But there was also the powerful work of Faith Ringgold, Dindga McCannon, Howardena Pindell and Betye Saar, as well as the lesbian voice of Harmony Hammond. These voices have asked for more space in recent decades to reframe the dominant discourse of white feminism [whitestream feminism]. They also inspired generations of new artists like Mickalene Thomas and Renee Cox. This makes feminist revisionism in art history richer, more complex, and more complicated.

One of the essays in the exhibition proposes moving from a vision of art as “one or the other” to an “both” paradigm (either/or And both/and).

Catherine Morris: Most of the reflection on modernity is based on the idea of ​​dialectics: historical developments make a synthesis from a thesis and an antithesis. This elegant model has led to generalizing oppositions in a way that often reinforces problematic social norms. Current feminist currents instead propose to blur the cards of modern history to make it more human.