Art News And Review – When my kids are ready for art, they reach for the newspaper. It’s affordable, always available and a versatile desk in our homes for messy creativity. And when the kids are done, their creations proudly drying on the kitchen counter, the splattered paint and sticky newspaper pages spread out to protect the table are often shocking to see in themselves. Syrian rebels disappear in explosions pink watercolor; Wall Street crime exposé edited with glue smudges and fake feathers.
In the catalog for the exhibition News Shock, which runs through January 27 at the National Gallery, Washington, curator Judith Brody and her collaborators provide a compelling and emotional account of artists’ use and abuse of newspapers. In the early 20th century, newspapers were the epitome of news, enjoying a status similar to that of today’s Internet, but without competing technologies, they were probably much more dominant. Last Tuesday’s paper was, in a sense, last Tuesday itself. And newsprint, the epitome of pop culture from the assembly line, offered creative imagination through an infinity of pre-digital language and images to walk through.
Art News And Review
Not surprisingly, newspapers attracted artists. Brody and company focus on two early 20th-century works that offer a range of possibilities for acting on this attraction. One is Filippo Marinetti’s Futurist Manifesto, a maniacal call to blow things up in the name of aesthetic audacity, published on the front page of Le Figaro in 1909. Marinetti showed how artists could take advantage of the public reach and power of newspapers to shape opinion . Another tentative work is Pablo Picasso’s Guitar, Sheet Music and Glass (1912), which includes parts of Le Journal. Picasso showed how to use newspapers as an open resource.
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Slicing, slicing, and sometimes contemptuous aggression toward newspapers pervades the art of the book, but softens in later works. By the 21st century, radio, television and the Internet had eroded the newspaper’s once unrivaled reputation as the epitome of news, and the decline of the newspaper business had become a cliché. The aura of whimsical horses and carriages has stuck to the newsprint and is now delightfully material and ephemeral.
News Shock explores the meaning of these changing newspapers. Take, for example, early works such as Edouard Bura’s 1929 Composition Collage, a man with the head of heavyweight boxer Primo Carnera, whose body is composited into a 1928 Miss France article and singles ad. It’s a scene in a coffee shop where the women are stepped on. weight loss The huge facts in the newspaper affect the lives of the characters and the work itself. The writer strikingly opposes the power of the newspaper.
Compare Burra’s collage with Paul Sietsema’s Modernist Struggle (2008). The pages of the arts section of the April 26, 2005 edition of the New York Times appear to be splattered with white paint, but it turns out that the pages are closer. Make sure it’s a painstakingly hand-inked fake. Sietsema seems to revere the paper as, among other things, a relic on par with the folklore of the vanished Eskimos and Brazilian Indians presented in damaged fake articles.
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Even the most critical or mocking material included in The Shock of the News expresses an unspoken respect for the newspaper’s ubiquity. Its loss of ubiquity is one of the ways the world will change if the predictions for the entire electronic press come true. The art world will also feel the impact. I imagine the kids arranging their iPads on the kitchen table before they start drawing, and it doesn’t look good that Fort Richborough in Kent, a base for the Roman invasion of Britain in AD 43, is reopening to the public .
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