“I didn't know that they existed”: the US exhibition rarely increases Picasso's works of art. | Pablo Picasso

HOsting of an exhibition by Pablo Picasso's art is not the same way to put together your normal gallery exhibition. On the one hand, collecting the art of the amazing Spaniard requires much more overhead than most shows. When Michael Cary, the local Picasso expert in the Gagosian gallery, told me: “Picasso shows are museums.

However, there are great rewards for the exhibition of Picasso. It is a big prestige thrust for every gallery that manages to bring all this art together, and the celebrity factor tends to drive a lot of commitment from the visitors. In addition, the sale of a single piece can bring the entire company to black.

“I imagine Larry [Gagosian] Moch Picasso's market, ”laughed Cary when we spoke about Picasso: Tête-à-tête, Gagosian's latest show for the artist. And he was supposed to sell gagosian to a woman's sculpture bust for $ 106 million.

According to Cary, nobody does more Picasso shows than the famous New York gallery. Cary himself has worked on 13 Picasso shows since they came to Gagosian in 2008, and the relationship between the gallery and Picasso's art extends until the 1990s. The Gagosianer website lists 40 shows with its works.

“Picasso is a high-stand game,” said Cary. “You have not accidentally or casually made a Picasso show. It requires a lot of planning, a lot of hard work. And the attempt to show the audience that was not expected and that is not expected with Picasso is also high missions.”

Gagosian hopes to do exactly that with an enormous exhibition that extends the entire creative life of Picasso. Remarkably, Picasso's daughter Paloma opened her collection of her father's art for Tête-à-tête and exhibited about a dozen pieces that were never seen before. She also helped organize the show because she took on an increasing role with her father's art after she had become responsible for the administration of Picasso's estate two years ago. “It is wonderful to have an employee who trusts us and familiars us enthusiastically,” said Cary about Paloma. “It is disarming because Paloma is so informal and friendly. There is an enthusiasm that is very, very rare.”

The show revolves around one of Picasso's most famous works, the sculpture Tête de Femme from 1909 (Fernande), which Cary described “the most important sculpture of the 20th century”. One of around 20 such casts that are known is modeled on the head of Picassos Muse and lover Fernande Fernande Olivier. The striking bronze line -up is generally considered Picasso's first cubist sculpture and a pioneering moment in the development of the cubism movement.

Cary and his team have Tête de Femme with a ceramic bust “paired”, which is a portrait of Paloma's mother, which was humorous as a “cookie glass”. The diskordance is the point, since Tête-à-tête tries to present Picasso's art, as Gagosiane imagines that the Spaniard would have liked them: free from various schools or periods, which are thoughtful in a surprising and unexpected way.

“We put the most important sculpture of the 20th century next to something that looks like a biscuit glass,” said Cary. “We don't distinguish between these two things because Picasso has made no distinction.”

The two têtes ensure one of many such pairings, of which Gagosian hopes to remind you “dialogues” when the audience makes connections between the parts of the show. Cary explained that Picasso's first retrospective's concept came in 1932, which he himself was, and set up his own way by completely avoiding the categorization of his art. “Picasso hung very different works from very different styles next to each other so that they could talk to each other,” he said. “So he intended to meet us. Picasso rejected this idea to disassemble his work into periods – that was academic, that was criticism. When I put the paloma, she was triggered:” Oh, that is a funny idea, it gives us the opportunity to hang things in a different way. “

There are many undiscovered treasures in Tête-à-tête. Despite a Picasso scholar, who has been working on numerous Picasso shows for gagosian for almost 20 years, Cary von never previously exhibited pieces was amazed, of which he had never heard of. “It was really exciting for me because I am such a Picasso -nerd.” Cary told me. “Paloma sent us a list of parts and she just blew us away. I not only hadn't seen many of them, I didn't know that they existed.” These previously shoveled works include the remarkable bronze sculpture from 1958 and a trio of portraits of Picasso's so-called Golden Muse Marie-Thérèse Walter, which were made in surprisingly different styles.

According to Cary, there is always something new to discover with Picasso because he was so productive and varied so enormously in its edition. “Picasso is such a large and complex topic,” he said. “A really productive artist could do 5,000 works, but Picasso made about 25,000. Only keeping up with the literature is a full-time job. The complexity always throws new questions about always seeing something new to always try something new.”

Tête-à-tête will be Gagosian's last show in her long-time house in the 980 Madison Avenue, and that's why the gallery will be almost three months. For Cary it is a special thing to have the time to really be with the works that he hopes to use the audience. “This is a long show for us, and that is another thing that feels particularly good that we don't have to get out of here at a certain time,” he said. “These works are incredible, I want to see them as long as possible every day. I want people to come back and see them as often as possible. It feels like an additional gift.”