Courses and Seminars
Picasso and Applied Arts
November 17 —— 18, 2022
International Seminar
Textiles, ceramics, jewelry, furniture, fashion, glassware, painted paper, and architectural elements, among other art forms commonly designed for use in everyday life, have been and continue to be fields of experimentation for many artists, with Pablo Picasso being one of them.
Is the classic debate between so-called high and low culture still relevant? Under what terms are collaborations between artists and artisans for the production of serialised objects carried out? To what extent are these exclusive works of art intended to be used?
By addressing generic issues and specific cases, the aim of this seminar is to provide a more precise understanding of Pablo Picasso’s interest in serialised works and to address problems arising from the relationship between the conventional art of the museum and the applied arts today.
Seminar organised in collaboration with the Fundación General de la Universidad de Málaga, led by Pepe Karmel, professor of Art History at New York University.
Contact: artesaplicadas@mpicassom.org
Seminar dossier available in PDF.
Programme
SESSION 1: POPULAR ARTS FOR THE PEOPLE? THE SHIFT IN ANTAGONISM BETWEEN HIGH AND LOW CULTURE.
10.30am Welcome
Diego Vera. General director, Fundación General de la Universidad de Málaga
Pepe Karmel. Professor, Department of Art History, New York University.
José Lebrero Stals. Artistic director, Museo Picasso Málaga.
11am When do Popular Cultures Exist and Who Decides?
Néstor García Canclini. Distinguished Professor, Universidad Autónoma Metropolitana de México and Emeritus Researcher, Sistema Nacional de Investigadores.
11.40am The Best High Culture Is Low Culture
Will Gompertz. Artistic Director, Barbican Centre, London.
12pm h How Notions of Authorship and Authenticity Withstand the Distinction between High and Popular Culture
Alberto Luque. Professor of History of Art, Universidad de Lérida.
12.20pm When High Meets Low: the Decorative Means of Cubism
Claire Le Thomas. Independent scholar, Paris.
12.40pm Break
13pm Debate
SESSION 2: WHO MADE THIS? THE ONE WHO THINKS AND THE ONE WHO MAKES. THE IDEA AND THE FORM.
17pm Object and Image. Picasso’s Ceramics: Concepts, Working Methods, Motivations
Salvador Haro. Professor of Fine Arts, Universidad de Málaga.
Harald Theil. Independent art historian and exhibition curator, Toulouse.
17.40pm When Tapestries Became Modern Art
K.L.H. Wells. Associate Professor of Art History, University of Wisconsin-Milwaukee.
18pm 3D Reconstruction of Picasso’s Last Monumental Project
Kamila Oles. Research Fellow, Open Virtual Worlds research group, School of Computer Science, University of St Andrews and Head of Digital Cultural Heritage, Smart History.
18.20pm Auteur and Artiste, Differences of Opinion: Picasso’s Collaboration with François Hugo
Clare Finn. Independent scholar, London.
18.40pm Break
19pm Debate
SESSION 3: APPLIED ARTS IN THE TWENTY-FIRST CENTURY?
10.30am Picasso, Craft, and Mass production
Pepe Karmel. Professor, Department of Art History, New York University.
11.10am Gabriel Chaile and the Engineering of Necessity
Gabriel Chaile. Artist, Tucumán.
11.30am Innovative Craftsmanship Applied to Sculpture. Fundición Capa
Fernando Capa. General director, Eduardo Capa, S.A., Arganda del Rey.
11.50am Break
12.10pm From Tapestry to Contemporary Art. An Exploration of a Singular Case
Lala de Dios. Independent scholar, Madrid.
12.30pm ¡Cuánto río allá arriba!
Asunción Molinos Gordo. Researcher and Visual Artists.
12.50pm Debate and conclusions.
