The Art World of Catherine M.
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We will not comment here on the emotions of a young girl passing from adolescence to adulthood in the suburbs of the early 1960s – in this case we must admit our incompetence – during a blessed period which had the pill and not AIDS: that, we knew, but it is not the subject. However, it turns out that the kid – let’s call her “Catherine M.” – evolved in the world of Parisian art, but also, occasionally, New York, German, or Italian, in the mid-1960s. we are on more familiar ground.
And that between two orgies – their story has since made her famous – she began a career as an art critic which led her from the communist monthly French letters at the review ArtPress, which she founded in 1972. Nice career for the one whose French corrector at the baccalaureate (where she failed) awarded the copy with a 2/20 with the mention: “Let his pen skilfully run to tell anything. » Which is a pretty good definition of our profession…
We do not know what the teacher thought when he read the first articles of this dunce published shortly after by French letters, founded during the Resistance by Jacques Decour and Jean Paulhan and directed, when she began her freelancing there, by Louis Aragon. The editor-in-chief was Pierre Daix. You can find worse tutors. She cut her teeth there, at the invitation of the critic and exhibition curator Georges Boudaille – “that it was better not to antagonize before the first whiskey of the day” –, former pillar of the magazine picture rail founded by American painter John Franklin Koenig and gallery owner Jean-Robert Arnaud.
It is one of the charms of Beginnings only to find these endearing figures, for those who have rubbed shoulders with them, and, we hope, to discover them, for the youngest. To relive, or to live by proxy, a time when everything seemed – wrongly no doubt – easier. Let us judge: his companion at the time, Daniel Templon (he too did not shine during his school career, surprising schools such as those of Asnières, Bois-Colombes or Courbevoie, which also saw one of the great curators of the Center Pompidou come out at the same time, and not much more assiduous in class , Daniel Abadie, curator in particular of what remains the most remarkable public success of the museum, the first Dali retrospective, in 1979-1980), founded with a friend the Daniel Templon Cimaise-Bonaparte gallery, which quickly became the Daniel Templon gallery for short . It still exists, a rare example of longevity in this profession, and testimony to the pugnacity of its leader.
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