Hujar wrote that his portrait subjects were “those who push themselves to any extreme” and those who “cling to the freedom to be themselves.”
In Zineb Sedira’s work, archival material is not dead and past, but is active, suggesting that there is no such thing as “frozen in time.”
The Arc de Triomphe was vandalized and had one of its sculpture’s smashed by protesters while cars burned outside the Jeu de Paume and Orangerie.
The work of Gordon Matta-Clark, an artist best known for carving massive holes into derelict walls, has renewed symbolic power in today’s political climate.
For Hausmann, who was one of the founders of Berlin Dada, realist nature photography became a preferred means of his post-Dada expression, picked up during his sojourns to the North Sea and Baltic coasts in the early 1930s.
A retrospective of Ed van der Elsken at the Jeu de Paume in Paris examines his embrace of youth culture and his travels around the world.
In Soulèvements, an ahistorical exhibition of art made for and about acts of protest, works either make their political agendas self-evident or embed them in their formal properties.
PARIS — Poignancy pervades A Working Eye, the first comprehensive retrospective of François Kollar’s Constructivist-style photography that, through nuanced grays and deep blacks, dramatized French workers’ empowerment.
PARIS — The use of mirrors in art has been a rich one, used by Pop, Kinetic, Minimal, and Conceptual artists. In this long tradition, the Jeu de Paume currently offers an additional point of reference.
The photographs of Eva Besnyö (1910–2003) are hardly known in America. This fact was made clear to me before my recent trip to Paris, when no one recommended that I go see an exhibition of her work at the Jeu de Paume.