Brancusi – expoziție de fotografie la New York

Semnalam aparitia unui articol interesant semnat de Florica Prevenda. Acesta poate fi lecturat la aici.

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1 Comentariu

  1. Stephan Benedict
    din: NY City, SUA
    spune:

    NY Times’ Robertha Smith art review of Brancusi’s photo exhibit in NYC on May 31, 2012:
    Constantin Brancusi: ‘Brancusi: The Photographs’

    By ROBERTA SMITH

    Bruce Silverstein Gallery 535 W. 24 St.

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    Constantin Brancusi’s photographs of his sculptures and his Paris studio have been admired since the 1970s, but shows devoted exclusively to them have been rare in New York. The 32 selected here, mostly from the 1920s, confirm that they exceed mere documentary and are on a par, as some have suggested, with van Gogh’s letters and Delacroix’s journals.

    Brancusi’s photographs clarify how he saw his work and wanted it seen, and show something of his working process. But their distinctive emotional tenor, orchestrations of form and explorations of the photographic medium qualify them as art in their own right.

    The crowded studio views, with their complexes of overlapping sculptures and chunks of material and their emphatic uses of light and shadow, justify the critic and photographer John Coplans’s 1980 view of them as a kind of Cubism, a style antithetical to the compressed, single wholeness of Brancusi’s sculpture. (They might even constitute a sly one-upmanship.) At the same time, some of these images also present the artist’s legendarily beautiful studio, with its plain plaster walls and skylights, as a primordial, slightly chaotic world within which the sculptures stand out as instances of distilled, hard-won serenity and order.

    In other images Brancusi underscores his attachment to his works as almost living spirits, multiplying and animating their forms with shadows or double exposures, or arranging them in suggestive tableaus. In an especially tender image his sculpture “Little French Girl” seems to sidle up to a cuplike sculpture resting on an “Endless Column” fragment as if this combination were a comforting parent.

    Brancusi occasionally completely ignored his sculpture, training his camera, for example, on a small leafing tree trunk in his studio to create a study in ambiguous textured shadows. In an even more abstract example, he focused on the crackled textures of dried and crystallized photographic fixative in a developer pan, achieving something startlingly similar to the mysterious images that James Welling made in the late 1970s using crinkled aluminum foil. If this nominates Brancusi as a precursor to postmodern photography, stranger things have happened.

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