{"id":605,"date":"2022-06-23T21:33:59","date_gmt":"2022-06-23T21:33:59","guid":{"rendered":"https:\/\/tirinha.com\/80-artistas-contemporaneos-no-wexner-center-for-contemporary-art\/"},"modified":"2022-06-23T21:33:59","modified_gmt":"2022-06-23T21:33:59","slug":"80-artistas-contemporaneos-no-wexner-center-for-contemporary-art","status":"publish","type":"post","link":"https:\/\/tirinha.com\/tr\/605\/80-artistas-contemporaneos-no-wexner-center-for-contemporary-art\/","title":{"rendered":"80 \u00c7a\u011fda\u015f Sanat\u00e7\u0131\u201d Wexner \u00c7a\u011fda\u015f Sanat Merkezi'nde"},"content":{"rendered":"
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Mike Bidlo
Picasso De\u011fil (Aynan\u0131n \u00d6n\u00fcndeki K\u0131z, 1932)<\/i>1986<\/p>\n

Tuval \u00fczerine ya\u011fl\u0131boya, 64,17 x 51,18 in\u00e7. (163x130 cm)<\/p>\n

\u00d6zel Koleksiyon, Galerie Bruno Bischofberger'in izniyle<\/b><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

ayr\u0131ld\u0131m <\/span>Picasso'dan sonra: 80 \u00e7a\u011fda\u015f sanat\u00e7\u0131<\/i>, <\/i>Ohio Eyalet \u00dcniversitesi'nin Wexner Merkezi'ndeki b\u00fcy\u00fck g\u00f6steriye giderken, bu kadar b\u00fcy\u00fck bir g\u00f6steri i\u00e7in \u00e7ok az mutluluk an\u0131 hissetti\u011fimi d\u00fc\u015f\u00fcn\u00fcyordum. Picasso'nun nabz\u0131n\u0131n h\u0131zla artt\u0131\u011f\u0131n\u0131 biliyorum ve sergi bunun \u00fczerine kurulu: Sanatsal Etkisine Tan\u0131k Olun<\/i>. Sergi, Picasso'nun ba\u015far\u0131s\u0131ndan \u00e7ok \u00e7ok daha k\u00fc\u00e7\u00fck bir etkiyle a\u011f\u0131rla\u015ft\u0131. <\/span>Ne yaz\u0131k ki, etkilerin, yank\u0131lar\u0131n ve selamlamalar\u0131n bu akademik konumu bize kan\u0131m\u0131z\u0131 zar zor harekete ge\u00e7iren \u00e7al\u0131\u015fmalar getiriyor ve ilgin\u00e7 \u00e7al\u0131\u015fmalar\u0131 yaln\u0131z ve k\u00fc\u00e7\u00fck g\u00f6r\u00fcnd\u00fc\u011f\u00fc ba\u011flamlara yerle\u015ftiriyor. K\u0131sacas\u0131 dizi, temel insani konulara veya duygulara de\u011finen i\u00e7erik a\u00e7\u0131s\u0131ndan zay\u0131f.<\/span>
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\ni\u00e7in f\u0131rsat Picasso'dan sonra <\/i>Deichtorhallen Hamburg'un 25. y\u0131l d\u00f6n\u00fcm\u00fc. Kutlamalar\u0131 \u015fu g\u00f6steri: Devasa bir sanat\u00e7\u0131 ve konsept olarak onu g\u00f6steren sanattan daha \u00f6nemli bir konu. D\u00fcnyan\u0131n her yerinden kredileri ekleyin ve bir Etkinli\u011fimiz var.<\/span>
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\nBu g\u00f6steri ba\u015far\u0131s\u0131z bir \u015fekilde iki izleyiciye hitap etmeye \u00e7al\u0131\u015f\u0131yor. Akademisyenler i\u00e7in bir say\u0131 olsa da, genel ve merakl\u0131 bir izleyici kitlesine y\u00f6nelik bir g\u00f6steri. \u201cPicasso\u201d ve \u201cetki\u201dnin olas\u0131 her t\u00fcrl\u00fc \u00f6rt\u00fc\u015fmesini kavramaya y\u00f6nelik bilin\u00e7li \u00e7abas\u0131 i\u00e7inde, izleyicinin alan\u0131n\u0131 ve sabr\u0131n\u0131 Picasso'nun eserlerine s\u0131k\u0131c\u0131 bi\u00e7imde sahip \u00e7\u0131kmakla bo\u015fa harc\u0131yor; Picasso'dan \u00f6d\u00fcn\u00e7 al\u0131nan izole fig\u00fcrler veya kompozisyonlarda; ve Picasso'nun ikonlar\u0131na veya tarzlar\u0131na tepki veren sanatta. Nadiren bir sanat\u00e7\u0131n\u0131n vizyonunun nas\u0131l oldu\u011funa dair \u00f6neriler g\u00f6r\u00fcyoruz.<\/span> <\/span>Picasso'nun dokunmad\u0131\u011f\u0131 bir d\u00fcnyada ak\u0131l almaz bir d\u00fczeye ula\u015ft\u0131. <\/span>
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Cindy Sherman, \u0130simsiz 280, <\/i>1989-93.
Renkli bask\u0131, 140x94x8cm. Nezaket
Neda Young, New York.<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

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Picasso'nun b\u00fcy\u00fckl\u00fc\u011f\u00fc bir sorun olmad\u0131\u011f\u0131 gibi, onun eserlerini benimseyen veya ondan \u00f6d\u00fcn\u00e7 alan sanat\u00e7\u0131lar \u00fczerindeki i\u015faretlerinin \u00e7ok say\u0131da g\u00f6sterilmesiyle de kan\u0131tlanmam\u0131\u015ft\u0131r. Akademik anlamda d\u0131\u015f\u0131nda, kendi ba\u015f\u0131na son derece ilgin\u00e7 sanat\u0131n yarat\u0131c\u0131lar\u0131 olarak \u00f6d\u00fcn\u00e7 alanlara \u00e7ok az de\u011fer veriyoruz. Etki anlay\u0131\u015f\u0131m\u0131z, baz\u0131 materyallerin k\u00fcrat\u00f6ryel bir anlat\u0131ma uyarlanmas\u0131yla daha da geni\u015fletildi. Cindy Sherman'\u0131n y\u0131llard\u0131r yapt\u0131\u011f\u0131 otoportre onun sanat tarihine olan ilgisini geni\u015f anlamda g\u00f6steriyor. Picasso'nun ilham kayna\u011f\u0131 \u0130simsiz 280<\/i> geni\u015f bir sanat\u00e7\u0131 d\u00fcnyas\u0131ndan ikonik g\u00f6r\u00fcnt\u00fcler kullanan portreleri d\u0131\u015f\u0131nda, Picasso'ya olan hayranl\u0131\u011f\u0131ndan daha fazla s\u00f6z etmiyor. <\/span>

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\nDeichtorhallen Hamburg direkt\u00f6r\u00fc Dirk Luckow katalo\u011fun \u00f6ns\u00f6z\u00fcnde \u015f\u00f6yle yaz\u0131yor (Almanca'dan \u00e7evrilmi\u015f):<\/span>
\u201cSerginin hipotezi, Picasso'nun sanat\u0131n\u0131n bug\u00fcn sahip oldu\u011fu b\u00fcy\u00fck etkinin, eserinin ve ki\u015fili\u011finin ayr\u0131lamamas\u0131 oldu\u011fudur\u2026\u201d<\/span>

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Galerie Leyendeker, Tenerife (T. \u00dc.)<\/p>\n

1985, Serigrafi Bask\u0131, 83,8 x 59,4 cm<\/p>\n

\n\u00a9 Martin Kippenberger Malikanesi,<\/b><\/p>\n

\n Galerie Gisela Capitain, K\u00f6ln<\/b><\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Picasso'nun ki\u015fisel \u015f\u00f6hretine hi\u00e7 \u015f\u00fcphe yok. Ama ben i\u015f ile ki\u015fiyi ay\u0131rma taraftar\u0131y\u0131m. K\u00fcrat\u00f6rlerin, serginin bir k\u0131sm\u0131n\u0131 \u00fcnl\u00fclere ay\u0131rarak, sanat\u0131n ne oldu\u011fu ve ne yapabilece\u011fiyle daha az ilgilendikleri, tuzaklar\u0131ndan daha \u00e7ok ilgilendikleri y\u00f6n\u00fcndeki duygumu peki\u015ftirdiklerini g\u00f6rd\u00fcm. Picasso'nun egosu -her sanat\u00e7\u0131n\u0131nki gibi- hakl\u0131 olarak yap\u0131t\u0131nda bulunur. Bu t\u00fcm sanat\u00e7\u0131lar i\u00e7in ge\u00e7erli olmal\u0131. Ne yaz\u0131k ki, korkar\u0131m ki, bunun onun taklit\u00e7ileri ve hicivcileri i\u00e7in de ge\u00e7erli oldu\u011funu g\u00f6r\u00fcyoruz.<\/span>
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<\/span>Martin Kippenberger'in bir foto\u011fraf serisinin ilham kayna\u011f\u0131, burada Kippenberger'in sergi posterinde g\u00f6sterilen, Picasso'nun i\u00e7 \u00e7ama\u015f\u0131rl\u0131 bir foto\u011fraf\u0131yd\u0131. Sergide (hi\u00e7 resim yok) Kippenberger kendisi de Picasso gibi poz veriyor, benzer \u015fortlar giyiyor ve tarif edilemez bir i\u00e7 mekan\u0131n etraf\u0131nda rahat\u00e7a hareket ediyor. Kippenberger'in \u015fovu, iyisiyle k\u00f6t\u00fcs\u00fcyle, hem kendisini hem de konusunu ayn\u0131 anda hicvediyor. <\/span>
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\nBunun gibi geni\u015f bir duru\u015fta, izleyicinin hemen \u00fczerinde yer alan bir posterde Picasso'nun yerine Vladimir Putin'in veya Whitey Bulger'\u0131n g\u00f6mleksiz bir foto\u011fraf\u0131n\u0131 koymak \u00e7ok kolay olurdu: G\u00f6rkemli erkeksi duru\u015f Picasso ile ba\u015flamad\u0131. K\u00fcrat\u00f6rler ancak bu t\u00fcr \u00f6zelliklerin Picasso'nun eserlerinde mevcut oldu\u011fu \u00f6l\u00e7\u00fcde bu temay\u0131 katalogdan galeriye ta\u015f\u0131mal\u0131d\u0131r. Bu bir dipnot, tuhaf bir dipnot; Ac\u0131nas\u0131 ya da e\u011flenceli, nas\u0131l anlamak isterseniz \u00f6yle.<\/span>
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Halid Hourani, Picasso Filistin'de <\/i>2011. Kurulum g\u00f6r\u00fcn\u00fcm\u00fc, (IAAP) Ramallah.
Khaled Hourani'nin izniyle; Foto\u011fraf Halid Jarar<\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

Bu t\u00fcr pozlar, bir sanat eserini koruyan silahl\u0131 adamlar taraf\u0131ndan yap\u0131ld\u0131\u011f\u0131nda \u00e7ok daha ilgin\u00e7 ve anlaml\u0131 bir alemdeyiz. Picasso'yu Bat\u0131 \u015eeria'ya getiren bir projenin bu foto\u011fraf\u0131n\u0131, Picasso'nun bir\u00e7ok tekrar\u0131ndan, taklidinden ve yeniden yorumlanmas\u0131ndan \u00e7ok daha etkileyici buluyorum. Guernica<\/i> g\u00f6steriye dahil edildi. Robert Longo, sergiye dahil edilmek \u00fczere yeni \u00e7al\u0131\u015fmalar yapmas\u0131 i\u00e7in davet edildi ve devasa karakalem eseri Guernica D\u00fczenlendi <\/i>\u00f6nemli bir konum iddia ediyor. Hourani'nin foto\u011fraflar\u0131yla kar\u015f\u0131la\u015ft\u0131r\u0131ld\u0131\u011f\u0131nda (ki bu birka\u00e7 foto\u011fraftan biri), Longo'nun kavramsal \u00f6tesinde sava\u015f, i\u015fkence ve hatta \u00e7at\u0131\u015fmayla hi\u00e7bir heyecan verici ba\u011flant\u0131s\u0131 olmad\u0131\u011f\u0131 anla\u015f\u0131l\u0131yor.<\/span><\/p>\n\n\n\n\n
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\nRoberto Longo, <\/span><\/span>D\u00fczenlenmi\u015f Guernica (Picasso'nun Guernica's\u0131ndan sonra, 1937)<\/span><\/i>2014\/2015<\/span><\/p>\n

\nMonte edilmi\u015f ka\u011f\u0131t \u00fczerine karakalem, d\u00f6rt panel, <\/span>111,4x248 in\u00e7 (283x630cm)<\/span><\/span><\/p>\n

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\nGalerie Thaddaeus Ropac'\u0131n izniyle, Paris \u2013 Salzburg<\/span><\/span><\/p>\n


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\n\u00a9 2015 Robert Longo \/ Sanat\u00e7\u0131 Haklar\u0131 Derne\u011fi (ARS), New York<\/span><\/span><\/p>\n


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\nWexner Center'daki kurulumun g\u00f6r\u00fcn\u00fcm\u00fc, foto\u011fraf: Stephen Takacs<\/span><\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n


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\nHourani, Picasso'nun b\u00fcy\u00fckl\u00fc\u011f\u00fc kar\u015f\u0131s\u0131nda bodur kalmak (veya \u015fa\u015fk\u0131na d\u00f6nmek) yerine, Picasso'nun sanat\u0131ndan ger\u00e7ekten ilham ald\u0131. Ayr\u0131ca, kullan\u0131r <\/span>Sava\u015f kar\u015f\u0131t\u0131 mesaj\u0131na odaklanmak i\u00e7in Picasso'nun apolitik bir tablosu. <\/span>sanat\u0131n kendisi gibi yerel ve evrenseldir. Kurulum \u015fuydu:<\/span> Yaln\u0131zca Picasso'ya yan\u0131t vermekle kalmayan, ayn\u0131 zamanda onun ve onun \u00f6tesine ge\u00e7en karma\u015f\u0131k bir yarat\u0131c\u0131l\u0131k eylemi.<\/span>
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Folkert de Jong, Les Saltimbanques: Eski O\u011ful \u201cJack T.\u201d<\/i><\/span>Strafor, poli\u00fcretan k\u00f6p\u00fck ve pigment;<\/span>
<\/span><\/span><\/span>69,6 x 21,6 x 19,6 in\u00e7 <\/span><\/span>(176,86x54,94x49,86 cm)<\/span>
\u00d6zel koleksiyon, New York.
Resim Deichtorhallen Hamburg'un izniyle.<\/span><\/span><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n


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\nFolkert de Jong'un heykeli, <\/span>Les Saltimbanques: Eski O\u011ful 'Jack T'<\/i> Serginin \u00f6ne \u00e7\u0131kanlar\u0131ndan bir di\u011feri; Picasso'yla a\u00e7\u0131k ve bilinen bir ba\u011flant\u0131s\u0131 olan ancak canl\u0131l\u0131\u011f\u0131 nedeniyle bundan ba\u011f\u0131ms\u0131z bir eser. Dernekler taraf\u0131ndan ba\u015flat\u0131l\u0131r ancak bunlarla s\u0131n\u0131rl\u0131 de\u011fildir. Boyutlardaki fark\u2014<\/span>Bir resimdeki birden fazla fig\u00fcr\u00fcn \u00f6nerdi\u011fi heykel (<\/span>Saltimbanques ailesi, 1905) \u2014 <\/i>kendi ba\u015f\u0131na par\u00e7ay\u0131 s\u00f6zde orijinalden kurtar\u0131r. De Jong'un sanat\u0131 <\/span><\/span><\/span><\/span>sahip olmak<\/span> <\/span>ortam, birka\u00e7 ki\u015finin etkisini zay\u0131flat\u0131c\u0131 izolasyonun sa\u011flam bir \u00f6rne\u011fine yo\u011funla\u015ft\u0131ran tek bir fig\u00fcr yarat\u0131r. Hourani gibi de Jong da Picasso'yla ba\u015fl\u0131yor ve kendine \u00f6zg\u00fc \u0131\u015f\u0131klar\u0131 alt\u0131nda kendi yolunu takip ediyor. <\/span>
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Sergideki en iyi eserler, Picasso'nun daha sonraki sanat\u00e7\u0131lar\u0131n zihnine ula\u015ft\u0131\u011f\u0131n\u0131 en a\u00e7\u0131k \u015fekilde g\u00f6sterenler, hem g\u00f6ze hem de mant\u0131\u011fa Picasso'nun resimlerinin g\u00f6remedi\u011fi gibi g\u00f6r\u00fcn\u00fcyor.<\/span> <\/span>g\u00f6r\u00fcnmek. John Stezaker'in foto\u011fraf kolajlar\u0131nda, bu muazzam sergide, Picasso'yu tamamen \u00f6z\u00fcmsemi\u015f ve hayran seyirciler olarak biz, bu serginin d\u0131\u015f\u0131nda onun se\u00e7ilmesine muhtemelen \u015fa\u015f\u0131raca\u011f\u0131m\u0131z bir sanat\u00e7\u0131n\u0131n \u00e7al\u0131\u015fmalar\u0131yla kar\u015f\u0131la\u015fma f\u0131rsat\u0131ndan birine sahibiz. bu par\u00e7alarda. Birka\u00e7 s\u00fcrprizin oldu\u011fu bir sergide Stezaker'in \u00e7al\u0131\u015fmalar\u0131 \u00f6ne \u00e7\u0131k\u0131yor ve kesinlikle serginin en iyi \u00f6\u011fretici an\u0131n\u0131 sunuyor. Sahiplenme, \u015f\u00f6hret ve taklit bir yana, \u00e7a\u011fda\u015f sanat\u00e7\u0131lar Picasso'dan neyi saklamay\u0131 se\u00e7tiler? \u015eu ana kadar bilin\u00e7siz\/ka\u00e7\u0131n\u0131lmaz hale gelen \u015fey nedir?<\/span><\/p>\n\n\n\n\n
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\nJohn Stezaker<\/span><\/span><\/p>\n

\nd\u00fc\u011f\u00fcn ben<\/span><\/i>2006<\/span><\/span><\/p>\n

\nKolaj<\/span><\/span><\/p>\n

\n9,25x11,22 in\u00e7 (23,5x28,5 cm)<\/span><\/span><\/p>\n

\nSaatchi Gallery, Londra'n\u0131n izniyle<\/span><\/span><\/p>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n


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\n\u201cEvlilik 1\u201d birbirine uymayan iki siyah beyaz foto\u011fraf\u0131n kolaj\u0131ndan olu\u015fuyor. <\/span>Par\u00e7ay\u0131 uzun s\u00fcre boyunca s\u00fcrekli olarak inceleyebiliriz; ayn\u0131 kalacak, ancak \u00f6zneyi (o\/o) tan\u0131mlad\u0131\u011f\u0131m\u0131zdan, g\u00f6r\u00fcnt\u00fcn\u00fcn mekansal y\u00f6nelimini tan\u0131mlad\u0131\u011f\u0131m\u0131zdan veya g\u00f6r\u00fcnt\u00fcden kimlikle ilgili \u201cnormal\u201d sorular\u0131 yan\u0131tlad\u0131\u011f\u0131m\u0131zdan asla emin olamayaca\u011f\u0131z.<\/span>
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\nFoto\u011fraflarda k\u00fcbist perspektif ak\u0131c\u0131 ve zarif bir \u015fekilde \u00e7a\u011fr\u0131\u015ft\u0131r\u0131l\u0131yor. G\u00f6r\u00fcnt\u00fclerin bize verdi\u011fi rahatlat\u0131c\u0131 ger\u00e7eklik hissi, K\u00fcbist y\u00f6nelim bozuklu\u011fundan daha kal\u0131c\u0131d\u0131r. G\u00f6zler bizi yo\u011fun bir \u015fekilde yakal\u0131yor: Bu ki\u015fiyi nas\u0131l tan\u0131may\u0131z; Bize bu kadar derinlemesine bakabilen biri taraf\u0131ndan nas\u0131l bu kadar yak\u0131ndan tan\u0131nm\u0131yoruz? G\u00f6zler derin odaklanmay\u0131 sa\u011flarken, etraf\u0131m\u0131zdaki her \u015feyin d\u00fczenini varsayar\u0131z. G\u00f6zlerimiz tuhaf, yersiz, yersiz, garip olan her \u015feyin etraf\u0131nda geziniyor\u2026 Daha iyisi i\u00e7in mi? Daha k\u00f6t\u00fcs\u00fc i\u00e7in mi? D\u00fc\u011f\u00fcn 1<\/i>Bir\u00e7oklar\u0131 i\u00e7in evlilik gibi, tak\u0131l\u0131p kal\u0131yor ve de\u011fi\u015fiyor. Bu teknik, g\u00f6rme bi\u00e7imi Picasso ve arkada\u015flar\u0131 i\u00e7in yeniydi. Konu ve sunumu<\/span> bir as\u0131rdan fazla bir s\u00fcre \u00f6nce d\u00fcnyaya sunulan bir anlay\u0131\u015f zekice Stezaker'e ait. Taze, yeni ve derinlemesine bilgilendirilmi\u015f.<\/span>
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\nWexner'da veya \u00fcniversite kamp\u00fcs\u00fcndeki benzer bir \u00e7a\u011fda\u015f sanat mekan\u0131nda bir sezon planlama g\u00f6revine imrenmiyorum. Akademik sanat\u00e7\u0131lar\u0131n ve sanat tarih\u00e7ilerinin iddialar\u0131n\u0131, uzman olmayan \u00fcniversite \u00f6\u011frencileri, \u00f6\u011fretim \u00fcyeleri ve personel de dahil olmak \u00fczere bilgili kamuoyunun iddialar\u0131yla dengelemek hassas ve zor bir i\u015f olsa gerek. San\u0131r\u0131m bu sefer sarka\u00e7 bir y\u00f6nde \u00e7ok fazla salland\u0131. <\/span>
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\nDahil edilen eserler aras\u0131nda bir\u00e7o\u011fu, bireysel sanat\u00e7\u0131lar\u0131n eserlerinin ana temalar\u0131yla ikincil veya ilgisiz olabilir. Ama yine de orada ne var? <\/span>Picasso'dan sonra: 80 \u00e7a\u011fda\u015f sanat\u00e7\u0131<\/i> sanat tarih\u00e7ileri ve k\u00fcrat\u00f6rler i\u00e7in a\u00e7\u0131k\u00e7a ger\u00e7ek ve me\u015fru bir ilgi alan\u0131d\u0131r. Ancak sergi, kendisine ilham verenden \u00e7ok daha az ilgin\u00e7 galerileri ve sanat galerilerini (kaynaklar\u0131ndan suland\u0131r\u0131lm\u0131\u015f mesajlar i\u00e7eren sanat) getirdi\u011finden, onu g\u00f6rmek, var olan az say\u0131daki i\u00e7erik \u00f6d\u00fcl\u00fc i\u00e7in \u00e7ok \u00e7al\u0131\u015fmak anlam\u0131na geliyor. <\/span>
\n
<\/span>
\n__________________________________________<\/span>
\nWexner Sanat Merkezi'nin medya ve halkla ili\u015fkiler m\u00fcd\u00fcr\u00fc Erik Pepple'a, bu makale i\u00e7in \u00f6zel istek g\u00f6rsellerinin sa\u011flanmas\u0131nda g\u00f6sterdi\u011fi yo\u011fun \u00e7abadan dolay\u0131 en derin te\u015fekk\u00fcrlerimi sunuyorum.<\/span><\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"

Mike BidloPicasso Yok (Aynan\u0131n \u00d6n\u00fcndeki K\u0131z, 1932)1986 Tuval \u00fczerine ya\u011fl\u0131boya, 64,17 x 51,18 in\u00e7. (163 x 130 cm) Koleksiyon\u2026 <\/p>","protected":false},"author":1,"featured_media":606,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"fifu_image_url":"http:\/\/1.bp.blogspot.com\/-OWw1YG5l0jQ\/ViaM856QrMI\/AAAAAAAAHUM\/wfP7cVijU2A\/w1200-h630-p-k-no-nu\/Bidlo_Not+Picasso.jpg","fifu_image_alt":"","footnotes":""},"categories":[34],"tags":[],"class_list":["post-605","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-arte","latest_post"],"yoast_head":"\n80 artistas contempor\u00e2neos" no Wexner Center for Contemporary Art - Tirinha.com<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/tirinha.com\/tr\/605\/80-artistas-contemporaneos-no-wexner-center-for-contemporary-art\/\" \/>\n<meta property=\"og:locale\" content=\"tr_TR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"80 artistas contempor\u00e2neos" no Wexner Center for Contemporary Art - Tirinha.com\" \/>\n<meta property=\"og:description\" content=\"Mike BidloN\u00e3o Picasso (Garota Diante do Espelho, 1932)1986 \u00d3leo sobre tela, 64,17 x 51,18 pol. 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