{"id":160717,"date":"2023-06-13T17:21:53","date_gmt":"2023-06-13T17:21:53","guid":{"rendered":"https:\/\/culture.org\/?p=160717"},"modified":"2023-06-13T17:21:53","modified_gmt":"2023-06-13T17:21:53","slug":"gadsbys-pablo-matic-art-exhibit-the-eye-of-the-storm-in-the-art-world","status":"publish","type":"post","link":"https:\/\/culture.org\/art-and-culture\/art-events\/gadsbys-pablo-matic-art-exhibit-the-eye-of-the-storm-in-the-art-world\/","title":{"rendered":"Gadsby&#8217;s &#8216;Pablo-matic&#8217; Art Exhibit: The Eye of the Storm in the Art World"},"content":{"rendered":"<p><span style=\"font-weight: 400;\">Explore why Hannah Gadsby&#8217;s Picasso exhibition, &#8216;Pablo-matic&#8217;, is generating ripples of controversy in the art world.\u00a0<\/span><\/p>\n           <!--  <script type=\"text\/javascript\">\r\n                jQuery(document).ready(function() {\r\n                    jQuery(\".key-accordion-item .key-menu\").on(\"click\", function() {\r\n                        if (jQuery(this).parent().hasClass(\"active\")) {\r\n                            jQuery(this).next().slideUp();\r\n                            jQuery(this).parent().removeClass(\"active\");\r\n                        } else {\r\n                            jQuery(\".key-content\").slideUp();\r\n                            jQuery(\".key-accordion-item\").removeClass(\"active\");\r\n                            jQuery(this).parent().addClass(\"active\");\r\n                            jQuery(this).next().slideDown();\r\n                        }\r\n                    });\r\n                })\r\n            <\/script> -->\r\n\r\n\r\n            <!-- start html -->\r\n\r\n            <div class=\"news-key-takeaway-wapper\">\r\n                                <span style=\"background-color:#4db2ee;\">Key Takeaways<\/span>\r\n                <ul class=\"news-key-nbox\" style=\"border-color:#4db2ee;background-color:rgba(77, 178, 238, 0.1);\">\r\n                                                        <li>Hannah Gadsby's Picasso exhibition 'Pablo-matic' is causing quite the stir in the art world due to its controversial feminist approach.<\/li>\r\n                                                                    <li>Critics argue that the exhibition unintentionally marginalizes the female artists it claims to spotlight, with the majority of exhibited pieces belonging to Picasso.<\/li>\r\n                                                                    <li>Despite criticisms, the Brooklyn Museum stands firm, while Gadsby's confrontational approach continues to make her a topic of heated discussions.<\/li>\r\n                                                <\/ul>\r\n            <\/div>\r\n            \n<p><span style=\"font-weight: 400;\">Welcome, dear folks, to our daily scoop of art news! We&#8217;re diving deep into the waves stirred by Australian comedian Hannah Gadsby&#8217;s recent venture into the realm of art. Renowned for her Emmy-winning Netflix special &#8216;Nanette&#8217;, where she boldly critiqued Picasso&#8217;s misogynistic undertones, Gadsby has now curated her own Picasso <\/span><span style=\"font-weight: 400;\">exhibition<\/span><span style=\"font-weight: 400;\">, adding an intriguing chapter to the artist&#8217;s complex legacy.<\/span><\/p>\n<h2><b>&#8216;Pablo-matic&#8217;: The Picasso Exhibition that\u2019s Shaking the Art World<\/b><\/h2>\n<p><span style=\"font-weight: 400;\">Gadsby&#8217;s exhibition, intriguingly titled &#8216;Pablo-matic: Picasso According to Hannah Gadsby&#8217;, is an ambitious project showcasing at <\/span><a href=\"https:\/\/culture.org\/art-and-culture\/brooklyn-museum-workers-demand-equitable-employment-terms\/\" data-lasso-id=\"29275\"><span style=\"font-weight: 400;\">Brooklyn Museum<\/span><\/a><span style=\"font-weight: 400;\">, New York. It promises to present Picasso&#8217;s legacy under the illuminating light of feminist critique. But has it been successful in its mission, or has it sparked a firestorm of controversy?<\/span><\/p>\n<blockquote class=\"twitter-tweet\">\n<p dir=\"ltr\" lang=\"en\">\u201cPicasso said, \u2018You can have all the perspectives at once!\u2019 What a hero. But tell me, are any of those perspectives a woman\u2019s? Well, then I\u2019m not interested.\u201d \u2014Hannah Gadsby<\/p>\n<p>Join the conversation through September 24. <a href=\"https:\/\/twitter.com\/hashtag\/Pablomatic?src=hash&amp;ref_src=twsrc%5Etfw\" data-lasso-id=\"29276\" target=\"_blank\" rel=\"noopener\">#Pablomatic<\/a><\/p>\n<p><a href=\"https:\/\/t.co\/xJVETm9vfU\" data-lasso-id=\"29277\" target=\"_blank\">https:\/\/t.co\/xJVETm9vfU<\/a> <a href=\"https:\/\/t.co\/kedpdHl6CI\" data-lasso-id=\"29278\" target=\"_blank\">pic.twitter.com\/kedpdHl6CI<\/a><\/p>\n<p>\u2014 Brooklyn Museum (@brooklynmuseum) <a href=\"https:\/\/twitter.com\/brooklynmuseum\/status\/1664681629954998311?ref_src=twsrc%5Etfw\" data-lasso-id=\"29279\" target=\"_blank\" rel=\"noopener\">June 2, 2023<\/a><\/p><\/blockquote>\n<h2><b>A Feminist Interpretation Incites Controversy<\/b><\/h2>\n<p><span style=\"font-weight: 400;\">Gadsby&#8217;s narrative takes center stage, showcasing Picasso&#8217;s work in juxtaposition with female artists of the 20th and 21st century. Her aim? To re-center the art world\u2019s attention on these often overlooked talents. The exhibition is not short of Gadsby&#8217;s personal touch, integrating her voice in the form of audio sound bites amidst the spectacle of Picasso&#8217;s and other women&#8217;s artistry.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">However, it appears not everyone is on board with Gadsby&#8217;s artistic voyage. Critics have been unyielding in their reviews, arguing that the show underrepresents female artists, ironically the very ones Gadsby claims to champion. Critics also label the commentary used in the exhibition as \u201canti-intellectual,\u201d triggering a heated discussion within the art community.<\/span><\/p>\n<h2><b>The Display Strategy &#8211; Adding to the Fire<\/b><\/h2>\n<p><span style=\"font-weight: 400;\">ArtNews editor Alex Greenberger echoed this sentiment, noting that despite the show\u2019s repeated references to two women involved with Picasso, their artwork remains absent. &#8220;You can\u2019t re-center art history if you\u2019re still centering Picasso,&#8221; he pointedly remarked.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">The conversation doesn&#8217;t stop at the traditional art critique circles. Gadsby&#8217;s usage of trendy jargon like \u201cWeird flex\u201d in the commentary has also stirred the social media pot, with netizens labeling the language as more suited for digital platforms rather than the hallowed halls of an art museum.<\/span><\/p>\n<h2><b>A Resilient Response Amidst the Backlash<\/b><\/h2>\n<p><span style=\"font-weight: 400;\">While the art community is in a frenzy, Brooklyn Museum staff seem unfazed. The museum&#8217;s curator Catherine Morris even made a cheeky Instagram post featuring herself with Gadsby, shrugging off the criticisms humorously.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Notorious for her outspokenness, Gadsby isn&#8217;t one to shy away from the limelight or controversy, and this exhibition isn&#8217;t her first foray into making waves. The death of fellow Australian comedian Barry Humphries earlier this year ignited a social media storm when a past tweet by Gadsby, labeling Humphries as &#8220;inhumane&#8221; and &#8220;hates vulnerable minorities&#8221;, resurfaced.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":13,"featured_media":160725,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[852],"tags":[],"class_list":["post-160717","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-art-events"],"acf":[],"_links":{"self":[{"href":"https:\/\/culture.org\/wp-json\/wp\/v2\/posts\/160717"}],"collection":[{"href":"https:\/\/culture.org\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/culture.org\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/culture.org\/wp-json\/wp\/v2\/users\/13"}],"replies":[{"embeddable":true,"href":"https:\/\/culture.org\/wp-json\/wp\/v2\/comments?post=160717"}],"version-history":[{"count":0,"href":"https:\/\/culture.org\/wp-json\/wp\/v2\/posts\/160717\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/culture.org\/wp-json\/wp\/v2\/media\/160725"}],"wp:attachment":[{"href":"https:\/\/culture.org\/wp-json\/wp\/v2\/media?parent=160717"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/culture.org\/wp-json\/wp\/v2\/categories?post=160717"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/culture.org\/wp-json\/wp\/v2\/tags?post=160717"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}