{"id":105,"date":"2009-10-20T22:05:49","date_gmt":"2009-10-20T20:05:49","guid":{"rendered":"http:\/\/www.evelyne-axell.com\/blog1\/?p=105"},"modified":"2015-08-03T19:27:55","modified_gmt":"2015-08-03T17:27:55","slug":"article-dans-the-new-yorker","status":"publish","type":"post","link":"https:\/\/www.evelyne-axell.info\/fra\/2009\/10\/20\/article-dans-the-new-yorker\/","title":{"rendered":"Article dans The New Yorker."},"content":{"rendered":"<p><strong>EVELYNE AXELL<br \/>\n<\/strong><\/p>\n<p>The presence of the Belgian painter Evelyne Axell (1935-72) on the Brussels art scene was likened by the critic Pierre Restany to a \u201csexual revolution in art.\u201d There\u2019s ample evidence here, in vibrant paintings on Plexiglas: erotic (and autoerotic) portraits of nude women. In one, a hummingbird flies toward the subject\u2019s less-than-private parts, as if homing in on nectar. Axell\u2019s similarities to offbeat Pop artists like Tom Wesselmann and John Wesley are obvious, so why her relative obscurity? Like Dorothy Iannone\u2014a similarly sex-positive painter, whose career has been lately resuscitated\u2014Axell deserves to be better known. Through Nov. 21. (Broadway 1602, at 1182 Broadway, at 28th St. 212-481-0362.).<\/p>\n<p><strong>Publi\u00e9 dans The New Yorker en date du 20 octobre 2009. <\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>EVELYNE AXELL The presence of the Belgian painter Evelyne Axell (1935-72) on the Brussels art scene was likened by the critic Pierre Restany to a \u201csexual revolution in art.\u201d There\u2019s ample evidence here, in vibrant paintings on Plexiglas: erotic (and <a class=\"more-link\" href=\"https:\/\/www.evelyne-axell.info\/fra\/2009\/10\/20\/article-dans-the-new-yorker\/\">Lire la suite&#8230;<\/a><\/p>\n","protected":false},"author":1,"featured_media":633,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[5],"tags":[],"class_list":["post-105","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-extraits"],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/www.evelyne-axell.info\/fra\/wp-content\/uploads\/2009\/10\/New-Yorker.jpg?fit=426%2C136&ssl=1","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.evelyne-axell.info\/fra\/wp-json\/wp\/v2\/posts\/105","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.evelyne-axell.info\/fra\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.evelyne-axell.info\/fra\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.evelyne-axell.info\/fra\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.evelyne-axell.info\/fra\/wp-json\/wp\/v2\/comments?post=105"}],"version-history":[{"count":3,"href":"https:\/\/www.evelyne-axell.info\/fra\/wp-json\/wp\/v2\/posts\/105\/revisions"}],"predecessor-version":[{"id":883,"href":"https:\/\/www.evelyne-axell.info\/fra\/wp-json\/wp\/v2\/posts\/105\/revisions\/883"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.evelyne-axell.info\/fra\/wp-json\/wp\/v2\/media\/633"}],"wp:attachment":[{"href":"https:\/\/www.evelyne-axell.info\/fra\/wp-json\/wp\/v2\/media?parent=105"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.evelyne-axell.info\/fra\/wp-json\/wp\/v2\/categories?post=105"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.evelyne-axell.info\/fra\/wp-json\/wp\/v2\/tags?post=105"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}