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![]() ![]() The women who do look at us are forceful. The women shown here aren’t fussed by our viewing them they carry on with their activities, looking at art books, oblivious and uncaring. She imbues his style with a very personal reading and a new strident sense of dynamism and movement. Her crude copies of Léger’s works are a long way from mere imitations although this is how they may appear at first glance. Although she rarely left Lebanon, Choucair did visit Egypt in 1943 and spent a few years in France from 1948 when she joined the studio of Fernand Léger. Image via Choucair is a truly cosmopolitan artist and Tate ask us to consider this exhibition on level four in the context of Tate’s collections. Older artists are certainly on trend at the moment. Tate has taken a risk here as this is not what people expect of them they have mounted the world’s first major museum exhibition of Saloua Raouda Choucair who has never really exhibited outside her homeland of Lebanon – she is now 97. ![]() You’d be forgiven for not having heard of her too as she is still relatively unknown. Lichtenstein is the perfect example but just a couple of floors above this popular current exhibition is a retrospective by an artist that I doubt many people have actually heard of. We normally expect Tate Modern to put on blockbuster shows from exceptionally well-known artists who pull in the punters.
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