This young woman’s ambition was simple: to create the instant, the rst shared
moment. Professional curator Peter Hastings Falk’s sound advice allowed this
project to be born and to bloom. “He explained to me how the American
art market functions, between public relations and curators, and how
everything depends on a veritable strategy. Peter H. Falk advised me, and
thanks to him I made contact with the top public relations agency in New York.
”
This benevolent gentleman, editor and chief curator of
RediscoveredMasters.com, guided Laetitia Messegue so she could nd her
way through an unfamiliar system. He was motivated by her idea, a vibrant
example of the interest this event has generated. “
We share an interest in
being catalysts for the cross-cultural pollination of artistic ideas.
” For,
according to Peter Hastings Falk, “
nothing replaces the experience of the
face-to-face real experience of seeing ne art versus the digital experience.
Therefore, the more exhibitions can be shared between countries, the more
quickly will come true understanding and appreciation.
” To the curator,
European contemporary artists “
are pioneers in art in every country, including
France, and their work deserves greater exposure, recognition, and sales.
”
Nourished by this specialist’s theories and diving briey into the meanderings
of contemporary art leads to the very instant when artist, artwork, art lovers
and collectors meet. “
Until very recently, American art historians have typically
formed a chorus that teaches the history of abstraction like this: just before
and during the World War I era, several avant-garde artists emerged to
create shockingly different new forms by which artists could express
themselves. In Paris, Picasso and Braque broke out with Cubism, quickly
followed by Mondrian. In Moscow, Malevich created Suprematism, the
ultimate hard-edge geometric abstraction. And in Munich, Kandinsky
emerged as the father of Abstract Expressionism. Within these few short years
a zeitgeist was sensed throughout the art world. American pioneers,
too - particularly Stanton Macdonald-Wright and Morgan Russell - felt this
explosive freedom of expression in Paris. When Europe was recovering after
World War I it became clear that Paris would retain its title as capitol of the
art world, lasting through the Roaring Twenties and even through the Great
Depression. But the end of World War II changed everything. Culturally, a
parallel war in the art world had been won by a group of irascible young
Abstract Expressionists in New York - led by Pollock, Rothko, De Kooning,
and Kline. No sooner had Paris been liberated from the Germans than
Picasso, Matisse, Breton, and Duchamp surrendered to the Americans. From
that point on New York would be the epicentre of the art world. But that is
the short and easy interpretation of the relationship between the ‘School of
Paris’ and the ‘New York School.’ A lens that focuses myopically on the war
between the avant-garde of Paris and New York misses the wider narrative
of multiple aesthetic modernities that developed in the several decades
following World War I in many different countries. And, of course, in the
decades after World War II and through the present day there continue to
be avant-garde artists in France who are producing imagery that is original
and compelling. These are the artworks that deserve far greater sharing
between France and America -- and why I support Laeticia’s efforts.
”
Créer l’instant, le moment de la rencontre : voilà l’ambition de la jeune
femme. Les conseils avisés du professionnel Peter Hastings Falk ont permis
à ce projet de naître et de s’épanouir. “
Il m’a expliqué comment
fonctionnait le marche américain de l’art entre les public relations (RP) et
les curators, que tout dépendait d’une véritable stratégie. Peter H. Falk
m’a conseillée et, grâce à lui, j’ai pris contact avec la première agence
de RP basée à New York.
” L’homme, bienveillant, rédacteur en chef et
conservateur de RediscoveredMasters.com, a guidé la jeune femme pour
trouver son chemin dans un système inconnu. Lui était motivé par l’idée.
Vibrant exemple de l’intérêt que revêt cet événement. “Nous partageons
un désir de catalyser le partage interculturel d’idées artistiques.” Car,
selon Peter Hastings Falk, “rien ne remplace l’expérience de voir l’art en
face, par rapport à l’expérience digitale. Plus nous pouvons partager
d’expositions entre différents pays, plus vite viendra la vraie
compréhension et l’appréciation”. Pour le conservateur, les artistes
contemporains européens, et les français plus particulièrement, “sont
pionniers de l’art dans chaque pays, y compris la France, et leurs œuvres
méritent une plus grande reconnaissance, de plus grandes ventes”.
Face à Face
, 2013 © Béatrice Mélina
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