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"Posing Modernity: The Black Model from Manet and Matisse to Today in New York and Le Modèle noir, de Géricault à Matisse in Paris.


The exhibition will be on view at the Wallach from October 24, 2018 to February 10, 2019, and will then be expanded at the Musée d'Orsay from March 26 to July 14, 2019

The Miriam and Ira D. Wallach Art Gallery

Lenfest Center for the Arts, Columbia University
615 West 129th Street
New York, NY 10027

Frédéric Bazille’s “Young Woman With Peonies"
Frédéric Bazille’s “Young Woman With Peonies,” 1870. It is among the works in “Posing Modernity: The Black Model From Manet and Matisse to Today,” at the Wallach Art Gallery at Columbia University.CreditCreditNational Gallery of Art, Washington

 

This is such a great show! A must see! 

“La négresse (Pourquoi! Naître esclave!), or “The black woman (“Why Born a Slave!”) from the workshop of Jean-Baptiste Carpeaux, and Charles-Henri-Joseph Cordier’s “African Venus,”
From left, “La négresse (Pourquoi! Naître esclave!), or “The black woman (“Why Born a Slave!”) from the workshop of Jean-Baptiste Carpeaux, and Charles-Henri-Joseph Cordier’s “African Venus,” from 1851.CreditAnnie Tritt for The New York Times
Romare Bearden’s “Patchwork Quilt,”
Romare Bearden’s “Patchwork Quilt,” 1970.Credit2018 Romare Bearden Foundation/Licensed by VAGA at Artist's Rights Society (ARS), New York; The Museum of Modern Art, New York
Matisse’s “Martiniquaise, Study for ‘Fleurs du Mal,’” 1946; “Face of a Haitian Woman,” 1945; and “Martiniquaise, Study for ‘Fleurs du Mal,’”
From left, Matisse’s “Martiniquaise, Study for ‘Fleurs du Mal,’” 1946; “Face of a Haitian Woman,” 1945; and “Martiniquaise, Study for ‘Fleurs du Mal,’” 1946.CreditAnnie Tritt for The New York Times

"“Posing Modernity: The Black Model From Manet and Matisse to Today” sows disruption on another more nuanced front. This taut, riveting exhibition — currently on view at the Miriam and Ira D. Wallach Art Gallery in the new Lenfest Center for the Arts at Columbia University — revisits mid-19th-century Paris to examine the significande of black female models in paintings from the earliest years of European modernism. It then peripatetically traces such figures through successive generations of artists."

"At every point, black models pose, or raise, the question of modernity: what is it, who makes it, who is it for? They starkly silhouette the role of the artist’s model as collaborator, as incisive measures of modernity, mirroring the racial attitudes of both artists and their times." - exceprt from NYTimes arcticle.  

Read full NYTimes article here 

Review

"-a historically significant and aesthetically illuminating show that centers on the black female form as she appears and reappears in the work, lives, and imaginations of a number of painters, photographers, and filmmakers."

Hilton Als, The New Yorker

 

February 07, 2019 by Christine Gant

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