No. 271: Francis Picabia, John McLaughlin

Episode No. 271 of The Modern Art Notes Podcast features curators Anne Umland and Stephanie Barron.

Along with Catherine Hug, Umland is the curator of “Francis Picabia: Our Heads Are Round so Our Thoughts Can Change Direction,” Picabia’s first American retrospective. It’s on view at the Museum of Modern Art, New York through March 19. MoMA’s Umland and Hug, a curator at the Kunsthaus Zurich, were assisted by Talia Kwartler, also of MoMA. The exhibition catalogue was published by MoMA. Amazon offers it for $49.

Picabia is both one of the most significant artists of the twentieth century and one of the most slippery. From right around the turn-of-the-century until his death in 1953, he slipped from representative painting to cubism-informed abstraction, to conceptual work informed by design to kitsch to film-making and more.

Umland’s credits include “Picasso Sculpture,” “Magritte: The Mystery of the Ordinary, 1926-1938,” “Picasso: Guitars 1912-1914,” and “Joan Miro: Painting and Anti-Painting, 1927-1937.” She was previously on The MAN Podcast to discuss Magritte and Picasso.

On the second segment, LACMA’s Stephanie Barron discusses “John McLaughlin Paintings: Total Abstraction,” the artist’s first retrospective. McLaughlin was one of the most important artists  of post-war America. At a time when most artists were looking to Europe, McLaughlin looked to centuries of Japanese art and created work informed by the void and also by an Emersonian understanding of nature. It’s on view through April 16. The exhibition’s excellent catalogue was published by Prestel. Amazon offers it for $39.

Barron has previously been on the program to discuss exhibitions of Marsden Hartley, modern German art and Ken Price.

Air date: Jan. 12, 2017.

Franics Picabia. Les Pins, effet de soleil à SaintHonorat (Cannes) (Pine Trees, Effect of Sunlight at SaintHonorat [Cannes]). 1906.

Francis Picabia, Les Pins, effet de soleil à Saint Honorat (Cannes) (Pine Trees, Effect of Sunlight at Saint Honorat [Cannes]). 1906.

Francis Picabia, Dances at the Spring, 1912.

Francis Picabia, Dances at the Spring, 1912.

Francis Picabia, Figure Triste (Sad Visage), 1912.

Francis Picabia, Figure Triste (Sad Visage), 1912.

Henri Matisse, Blue Nude, Memory of Biskra, 1907. Collection of the Baltimore Museum of Art.

Henri Matisse, Blue Nude, Memory of Biskra, 1907.

picabia-city-of-new-york

Francis Picabia, La Ville de New York aperçue à travers le corps (The City of New York Perceived through the Body). 1913.

Francis Picabia. 391, no. 6. Published July 1917, New York. Edited by Francis Picabia. Printed journal with cover by Francis Picabia.

Francis Picabia. 391, no. 6. Published July 1917, New York. Edited by Francis Picabia. Printed journal with cover by Francis Picabia.

Francis Picabia, L’Œil cacodylate (The Cacodylic Eye). 1921.

Francis Picabia, L’Œil cacodylate (The Cacodylic Eye). 1921.

Francis Picabia. La Femme au monocle (Woman with Monocle). c. 1925–26.

Francis Picabia. La Femme au monocle (Woman with Monocle). c. 1925–26.

Francis Picabia. Mardi Gras (Le Baiser) (Mardi Gras [The Kiss]). c. 1924–26.

Francis Picabia. Mardi Gras (Le Baiser) (Mardi Gras [The Kiss]). c. 1924–26.

Francis Picabia, Aello, 1930.

Francis Picabia, Aello, 1930.

Francis Picabia, Femmes au bull-dog (Women with Bulldog), c. 1941.

Francis Picabia, Femmes au bull-dog (Women with Bulldog), c. 1941.

Francis Picabia, L’Adoration du veau (The Adoration of the Calf), 1941–42.

Francis Picabia, L’Adoration du veau (The Adoration of the Calf), 1941–42.

Francis Picabia, Lâcheté de la barbarie subtile (Carte à jouer) (Cowardice of Subtle Barbarism [Playing Card]), 1949.

Francis Picabia, Lâcheté de la barbarie subtile (Carte à jouer) (Cowardice of Subtle Barbarism [Playing Card]), 1949.

John McLaughlin, Untitled, 1951.

John McLaughlin, Untitled, 1951.

John McLaughlin, Untitled, 1951.

John McLaughlin, Untitled, 1951.

John McLaughlin, Untitled #16, 1962.

John McLaughlin, Untitled #16, 1962.

John McLaughlin retrospective as installed at LACMA with chairs designed by Roy McMaMakin.

John McLaughlin retrospective as installed at LACMA with chairs designed by Roy McMaMakin.

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