I have a morning in Paris at the end of the month was thinking about this, since I do like his work, but have decided to go to the Sophie Calle instead.
However on my bucket list is still to walk his Refuge d’Art in Provence, which is 150km so needs a fair bit of planning.
Well done. Even planning it takes guts.
I have a morning in Paris at the end of the month was thinking about this, since I do like his work, but have decided to go to the Sophie Calle instead.
That’s an interesting pairing of two exhibitions with similar curatorial concepts, but very different experiences. If I had to make that choice, I’d probably opt to see the Gormley even though I’m not normally a big fan of his work in white box space. Nevertheless, it would be interesting to see first hand the interaction with the Rodins, but I wouldn’t bother with buying the catalogue.
OTOH, I think most of what would interest me in the Calle/Picasso show could be gleaned from one of the two catalogues - most of the work seems it could be well appreciated by reading about it over time at one’s leisure. But of course, that’s just my opinion
I may be wrong, but it’s worth checking the name of artist before you pack your rucksack! 
Distinctly senile, and so young too.
Quite interesting why I mix them up tho’, something to reflect on. Enduring/statuesque v ephemeral/embedded
Possibly spontaneously mentally visualising spelling, rather than mentally distinguishing them through the visual appearance of their art - Andy Goldsworthy, Anthony Gormley.
Both are very idealistic, but in very different ways and I personally think Gormley is a far stronger and certainly more intelligent and empathic artist. if one compares say, two big art as regeneration projects like Gorm’s Angel of the North and Goldsworthy’s Cumbrian Sheepfolds, the latter, tho’ easier on the eye, has major shortcomings.
The Angel was initially opposed by many Tyneside councillors, but became iconic (one of the few contexts in which I feel comfortable using that word) whereas although the Sheepfolds sit well in the landscape and are well worth a day out to tour, their construction aroused enormous local controversy because rather than using local Cumbrian dry stone wallers, Goldsworthy brought in a team from Scotland (against the advice of his project manager). If one does a permanent site-specific work, particularly high profile big budget ones, you have to get local people onboard. Despite Gormley being from Hampstead and Cambridge educated, and Goldsworthy having graduated from Preston Poly then lived in the NW for many years, it was the former who succeeded in this respect.
We teach what we need to know. I certainly know I do - that’s how I learn.
True, but many fish swim in schools… and at least I didn’t mention Kylie - Ooops!
More seriously, I love different forms of ontologies (especially Borges’ https://cohost.org/ceobk?page=0 and ways of organising information and was struck by the possibility of someone with a very well-disciplined mind (unlike mine) mentally organising artists alphabetically like a librarian, but then one book got put back in slightly the wrong place - it’s the best way to deliberately hide, or accidentally lose a book in a library
Having just spent several hours there the experience could not have been replaced by reading the catalogue. What is wonderful about her work is people’s reactions to it. There was a lot of smiling, gentle exchanges about the various pieces, and people helping each other look at the work (covers had to be lifted, things opened).
(And I went to the White Cube on Friday, so one Gormley is enough at a time)
