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Gallery chronicle.(Art)

New Criterion

| January 01, 2005 | Panero, James | COPYRIGHT 2005 Foundation for Cultural Review. This material is published under license from the publisher through the Gale Group, Farmington Hills, Michigan.  All inquiries regarding rights should be directed to the Gale Group. (Hide copyright information)Copyright

Several years ago, at a panel of art academics, I witnessed an eye-opening event. Behind an array of dons were projected the images of taro Picasso paintings--one, an abstract arrangement of colored shapes, the other, a figure. After a surfeit of deliberations on the circumstances of production, theories of sexuality, and the artist's "gaze," a student from the audience stood to make an observation. This abstract image, he suggested, mirrored key shapes in the figural work; namely, one could see a resemblance between the purple void carved out by the legs of the figure on the one side, and the dominant, diamond-shape field in the abstraction on the other. He was right. An ...

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