Planned to coincide with the Art Institute’s major exhibition Picasso and Chicago, this presentation from the Department of Prints and Drawings is inspired by the modern master's love of poetry—Picasso was close friends with poets, including Max Jacob, Guillaume Apollinaire, André Breton, and Paul Éluard, and collaborated with them from his earliest days in Paris. Taking Picasso's passion as a jumping-off point, this collection of works on paper surveys the myriad ways visual artists have been inspired by or collaborated with poets in the 20th century.
The exhibition begins with a selection of sheets from Robert Motherwell’s A la Pintura (1968–72) and David Hockney’s The Blue Guitar (1976–77), prints series inspired respectively by the poetry of Rafael Alberti and Wallace Stevens—who was himself inspired by Picasso. The presentation continues with an exploration of the various working relationships between the artist and poet. Sometimes they are one and the same, such as Chicago’s own, Tony Fitzpatrick. Sometimes they work in tandem or tangentially to illustrate a text, as in the portfolios by Ken Price and Alex Katz. And sometimes artists independently co-opt the words of another; Lesley Dill, for instance, uses the words of Emily Dickinson in compositions such as A Word Made Flesh (1994).
Also on display are the publications of Tatyana Grosman and her workshop Universal Limited Art Editions (ULAE), where poets have long played an important role—as employees, muses, and collaborators. An early portfolio Stones (1957–59) exemplifies a collaborative relationship between the poet Frank O’Hara and artist Larry Rivers, while Skin with O’Hara Poem (1963–65), a print by Jasper Johns demonstrates O’Hara’s deeper impact on the artists who worked at ULAE. The word play of Edwin Schlossberg reveals how printing and materials impacts how one interprets text, and finally the series Fifth Stone, Sixth Stone (1967–68) by Lee Bontecou shows how the visual arts can likewise inspire the poet, in this case Tony Towle.
Other galleries are devoted to the poetic inspiration of Stéphane Mallarmé, represented by the prints of Henri Matisse and Ellsworth Kelly, as well as the impact of Guillaume Apollinaire on Louis Marcoussis. Russian poetic sources ranging across the century are also included, interpreted in the visual works of Nathalija Gontcharova, Kazimir Malevich, and Robert Rauschenberg.
10 hours 4 min ago The Art Institute of Chicago Just like the museum's collection comes from artists around the world, so does the Museum Shop’s assortment of products. We source exclusive products from artisans that are inspired by the cultures, mediums, and techniques represented in our museum collection. View our assortment of unique items from India.
19 hours 12 min ago The Art Institute of Chicago NOW ON VIEW—Provoke: Photography in Japan between Protest and Performance, 1960–1975
Provoke was the English-language title for a Japanese photo magazine of the late 1960s; the name also designates the group of photographers and writers who put that formative publication together. Their influence has grown so great that the “Provoke era” is now international shorthand for sixties counterculture in Japan. This generational uprising swelled from the massive unrest, and sheer cultural disorientation, that accompanied the country’s transformation from ruined empire to superpower after World War II.
This exhibition places the achievements of Provoke alongside those of protesters and protest collectives, who made riveting photobooks, films, and photographs throughout the same era, as well as artists and art collectives keenly interested in live performance and its relation to the mechanical image.
22 hours 45 min ago The Art Institute of Chicago NEW ACQUISITION—In the early decades of the sixteenth century, Antwerp was a great center of commerce, finance, and luxury trade. The Flemish city attracted innovative painters like Quentin Massys, Jan Gossart, and Joos van Cleve working in a style that combined northern traditions with Italianate forms. Numerous other painters, whose work is only known under names of convenience, like the Master of the Lille Adoration, swelled the ranks of the Antwerp guild.
Saint Jerome in Penitence (by the Master of the Lille Adoration) is an ideal addition to our collection and can be seen alongside other exemplary paintings from Renaissance Antwerp—on view in Gallery 207.