We've talked about this year being the 100th anniversary of the Armory Show, but this Sunday, March 24, marks the exact day that this landmark exhibition opened at the Art Institute a century ago. We've alsotalkedabout the exhibition Picasso and Chicago, which celebrates the artist's connection with our fair city, beginning with the Armory Show. And so for our work of the week, I thought an object that was in both the 1913 and 2013 shows would be most appropriate.
Picasso created this Cubist sculpture of his mistress, Fernande Olivier, in the fall of 1909, during which time Fernande served frequently as a subject for the artist. Cubism—as conceived by Picasso and fellow artist George Braque—presents an object from several perspectives simultaneously. Here we see faceted forms that give us a sense of both the inside and outside of Fernande's head, illustrated as repeating convex shapes.
At the time of the Armory Show, the sculpture was owned by photographer, collector, and gallery owner Alfred Stieglitz. After Stieglitz's death, it came to the Art Institute as a gift, along with many other works, including the drawing for the sculpture seen adjacent to it in the exhibition.
1 day 6 hours ago The Art Institute of Chicago NOW ON VIEW—Kemang Wa Lehulere: In All My Wildest Dreams
Artist Kemang Wa Lehulere describes his work as a “protest against forgetting,” reenacting what he calls “deleted scenes” from South African history through a masterful conflation of personal and collective storytelling. See his first American museum show, In All My Wildest Dreams—on view through January 16.
1 day 11 hours ago The Art Institute of Chicago NOW ON VIEW—A new photography rotation showcases groundbreaking Contemporary works from artists like John Baldessari, Sally Mann, Chuck Close, Barbara Kruger, among others—on view in Gallery 10 through January 2.
Image: Richard Misrach. Untitled #696–05, from series On the Beach, 2005. Gift of the artist.
2 days 7 hours ago The Art Institute of Chicago Toulouse-Lautrec’s work increased the visibility of lesbians in 19th-century Paris, portraying them in a sympathetic light when prevailing perceptions were anything but favorable.